Courtesy Mazzoleni, London - Torino Photo by Yosuke Kojima, Photo: Mathias Schormann
Exhibition number
AW500
The Stage is a fundamental place in the exhibition layout of Opera Opera, a project that seeks to open up to the urban context in its dialog with the public.
The works presented outdoor are experiential and performative, transforming the city into a theatrical Stage, on which the artists enter into arelationship with the everyday life of public spacesand with those who normally inhabit them. As they walk down Unter den Linden, passers-by aredrawn into sensory and emotional participation when they are captivated by the solo voice of Susan Philipsz in a mesmerizing a cappella version of David Bowie’s Wild Is the Wind.
Meanwhile, Marinella Senatore’s installation, inspired by the illuminations of popular festivals in southern Italy, provides a theatrical backdrop. With its colored lights, it embraces people in a collective moment of sharing, in an Alliance des corps that is much needed today.
Lastly, we have the mystical encounter with Justin Bennett’s Oracle 2.0, which suggests historical and current predictions, offering the right person at the right time a new reading of reality, which is allegro ma non troppo (cheerful but not excessively so).
Information
Marinella Senatore
*1977, lives and works in Rome and Paris
The Stage is a fundamental place in the exhibition layout of Opera Opera, a project that seeks to open up to the urban context in its dialog with the public.
The works presented outdoor are experiential and performative, transforming the city into a theatrical Stage, on which the artists enter into arelationship with the everyday life of public spacesand with those who normally inhabit them. As they walk down Unter den Linden, passers-by aredrawn into sensory and emotional participation when they are captivated by the solo voice of Susan Philipsz in a mesmerizing a cappella version of David Bowie’s Wild Is the Wind.
Meanwhile, Marinella Senatore’s installation, inspired by the illuminations of popular festivals in southern Italy, provides a theatrical backdrop. With its colored lights, it embraces people in a collective moment of sharing, in an Alliance des corps that is much needed today.
Lastly, we have the mystical encounter with Justin Bennett’s Oracle 2.0, which suggests historical and current predictions, offering the right person at the right time a new reading of reality, which is allegro ma non troppo (cheerful but not excessively so).
Further links on the topic
Further artworks from this exhibition
Exhibition Intro
Backstage Intro
Michelangelo Pistoletto
Quadro di fili elettrici, 1967
Luca Vitone
Sonorizzare il luogo (Grand Tour), 1989-2001
Armin Linke
Chamber of Deputies, Rome, Italy, 2007
From the serie/ aus der Serie Il Corpo dello Stato, 2002-2009
Giorgio Andreotta Calò
Scale model for Senza titolo (La fine del mondo), 2017-2018
Prelude Intro
Maurizio Nannucci
The missing poem is the poem, 1969
Theatre of the Everyday Intro
Jimmie Durham
A Proposal for a New International Genuflexion in Promotion of World Peace, 2007
Rosa Barba
NO - Orchestra con nastro, 2022
Luigi Ontani
Davide e Prigioni. L'après Michelangelo, 1970
Kara Walker
For the Benefit of All the Races of Mankind [(Mos’ Specially the Master One, Boss) An Exhibition of Artifacts, Remnants, and Effluvia Excavated from the Black Heart of a Negress II], 2002
William Kentridge
Preparing the Flute, 2005
Chen Zhen
Un-interrupted Voice, 1998
Susan Philipsz
Wild Is the Wind, 2002
Olaf Nicolai
Positi. Rome Version, 2022