Liliana Moro “ ” , 2018
curated by Nicola Trezzi
“ “ ” is the title of a work of mine from 2001, presented at Emi Fontana in Milan, wherethe floor of the gallery was covered by broken glass on which the public had to walk. On the wall at the end I opened a hole through which you could see, in the next room, a baby bed made of crystal. “ ” is not untitled or without word, but rather an open space. I therefore took that title again and made it into a work”.
Continuing her sharp investigation of the mysterious nature of visual art – and its possibility to open alternative ways (upside down, inside out) to look at the reality around us – with this work Liliana Moro is taking us on a new adventure, which sees its seeds in the phantasmagoric power of language. Through this work the artist encapsulates a myriad of possible tales: from language to body language, from the title of an exhibition of artworks to the title of the exhibition as an artwork in itself, from Italian gesticulation to American slang, from Mario Merz’s Che fare? to Bruce Nauman’s D(EAT)H. With “ ” Moro is creating a magic door, leading us to disparate places; ironical at first sight, this work could be considered an unofficial manifesto of her entire practice, which is a continuous balance between rigor and playfulness, a unique position that has made Moro one of the most interesting voices of her generation. Liliana Moro’s “ ” is the eighthchapter of “5779,” the exhibition project opening the first season of BUILDINGBOX, which is an independent space within the premises of BUILDING, characterized by its own unique program.
The opening project, curated by Nicola Trezzi, opens on the week of Rosh HaShana, which is the beginning of the new year – the year 5779, as the title says – according to the Hebrew calendar. Following these premises, a window gallery which is visible 24/7, and a calendar which consists of 12 months (Nisan, Iyar, Sivan, Tammuz, Av, Elul, Tishrei, Marcheshvan, Kislev, Tevet, Shevat, and Adar), “5779” is a group exhibition in which several artworks are not presented next to each other but rather one after the other. The structure of the calendar – day after day, month after month, year after year – becomes the guideline for the presentation of artworks by several artists; in doing so, this structure transforms the essence behind group exhibitions, from coexistence and juxtaposition to linearity and procession. Furthermore, this specific format deconstructs the very core of the group exhibition format, which is, by definition, an exhibition in which several artworks, by several artists, are presented next to each other in a confined space and for a specific amount of time.
With “5779” the idea of a group exhibition in which works of art by several artists appear, in the same space, one after the other – substituting one another, replacing one another – suggests an inversion in the equation at the base of exhibition making. Rather than rooting exhibition making into space, as it usually happens, this time the exhibition is rooted in time rather than space. To reinforce the predominance of time over space,
a complete overturning of exhibition making and of its premises, is the decision to display artworks that are not only on view 24/7 but also that are ‘fed’ by electricity – neon signs, works with light bulbs, videos, etc. –, works that are independent sources of light, “small suns” (although the Hebrew calendar is not purely solar but “lunisolar”) giving the rhythm of time.
Liliana Moro’s “ ” will remain on view until May 4,during the days of Nisan, which is the first month of the ecclesiastical year and the seventh month (eighth, in leap year) of the civil year. At the end of the 12 months BUILDING will present a catalogue conceived as a calendar and featuring all the 12 artworks presented during the year, which will be revealed month after month.
The work of Liliana Moro (1961, Milan, where she lives and works) has been the subject of solo exhibitions at Emi Fontana in Milan, Greta Meert in Brussels, Antonio Ratti Foundation in Como (Italy), MUHKA in Antwerp, MAM/Arc in Paris, Ambrosetti Foundation in Brescia, Palazzo delle Papesse in Siena (Italy) (withEva Marisaldi and Grazia Toderi),West of Rome in Los Angeles, Fabbrica del Vapore in Milan, 1301PE in Los Angeles, DeFoscherari Gallery in Bologna, La Ferme Du Buisson – Centre d’Art Contemporain in Noisiel (France), and Francesco Pantaleone Arte Contemporanea in Milan.
She has participated in group exhibitions at Castello di Rivoli in Turin, Moderna Museet in Stockholm, PS1 in New York, De Appel in Amsterdam, Kunsthalle Wien in Wien, CAC in Geneva, Palazzo Grassi in Venice, ICA in London, GNAM in Rome, mumok in Wien, Mambo in Bologna, Galleria Civica di Trento (Italy), MART in Rovereto (Italy), Careof and Viafarini in Milan, Tel Aviv Museum of Art, MOCA Shanghai, as well as recurring exhibitions such as the 1992 edition of Documenta in Kassel, the 1993 and 2009 editions of the Venice Biennale, the 2013 Thessaloniki Biennale (Greece), the 2001 Bienal de Valencia (Spain) and the 2008 and 1996 editions of the Quadriennale in Rome. She will represent Italy, together with Chiara Fumai and Enrico David, at the upcoming Venice Biennale.
“5779” is conceived by Nicola Trezzi (b. 1982, Magenta) who is currently director of CCA Tel Aviv and was previously head of the MFA program at Bezalel Academy of Art, Jerusalem (2014-2017) and US editor at Flash Art International(2007-2014). An educator, curator and writer, Trezzi has organized and co-organized the following exhibitions: “Painting Overall” at the Prague Biennale 5, “Four Rooms” at the CCA in Warsaw, “Modern Talking” at the Muzeul National de Arta Cluj-Napoca, “Circa 1986” at HVCCA in Peekskill NY, “Champs-Élysées” at Palais de Tokyo in Paris, “Diagonal Histories—Imre Bak, Peter Halley—“ and “Yael’s Dreams (and Nightmares),” both at Art+Text Budapest, “Yael Efrati: Eva and Emerick,” MNAC in Bucharest, “KEDEM–KODEM–KADIMA” and “Laurent Montaron: Replica,” both at CCA Tel Aviv.