ESERCIZI DI RIVOLUZIONE (EXERCISES IN REVOLUTION) Curated by MAXXI and Nomas Foundation, Rome

Wednesday 29, Thursday 30 October 2014; h 3.00 – 7.00 p.m. Friday 31 October 2014; h 3.00 – 9.00 p.m.

Maxxi – National Museum of XXI century arts Via Guido Reni, 4A, Rome

Nina Beier | Cherimus | Ryan Gander | Falke Pisano | Anna Scalfi Eghenter | Valentina Vetturi| Raphaël Zarka | Italo Zuffi  

Nina Beier (Aarhus, Denmark, 1975) The Ticker, 2014, athletes, heart-rate watch, ball Courtesy of Laura Bartlett Gallery, London

Nina Beier’s art tackles social and political issues concerning representation and exchange, focusing on conflict and relationships. Her works examine the relationship between object and image, between essence and function, presence and representation. Always unpredictable, they are the result of a carefully pondered investigation of the redrawing of boundaries and of the rules of perception and interpretation. On this occasion the Danish artist has devised a work in which the performer focuses on his own body, and in particular on the mechanism that keeps it alive, and that is often taken for granted: the heartbeat. It is the heart rate that constitutes the choreography of The Ticker, and the movement that forms the basis for an image which, empathetically and violently, reawakens the viewer’s senses.

INSTRUCTIONS   The game For the entire duration of the show, an athlete throws a rugby ball against the wall at the same speed as his heart rate, as measured by the watch on his wrist. The sound made by the ball bouncing back thus reproduces the heart beat, which changes depending on the player’s resistance and sensitivity, and on the space where he is performing. The rhythm created by the action is simple and the athlete is made aware of their own physical effort by listening to how his body reacts.   Players Three young professional athletes play one after the other.   Rules A single player constantly throws the ball against the wall and catches it again, following the rhythm of his or her heartbeat.

Cherimus  Il Gioco dell’Oca di Marco Colombaioni, 2009 – 2014, a project by Marco Colombaioni, tablois vivant Courtesy the artists   Cherimus was created in 2007 in Perdaxius (Sardinia) by three friends: Marco Colombaioni, Matteo Rubbi and Emiliana Sabiu. Cherimus is a Sardinian word that means “we want”. Cherimus aims to bring about a new relationship between visual art, culture and local communities, thus promoting a type of art that challenges today’s well-established models through an interaction with the contemporary world and its most pressing issues. Il Gioco dell’Oca was first created by Marco Colombaioni in 2009 in Valledoria, Sardinia, as an open-air painting where anyone could come in and play. In Esercizi di Rivoluzione, the project, which takes a performative approach to the ancient game of Snakes and Ladders, opens up to a fantasy world inhabited by all types of animals. The squares come alive and the board itself becomes active and engaging, taking the viewer on a journey through the museum galleries.

INSTRUCTIONS   The game  Marco Colombaioni’s Il gioco dell’oca is a variant of the classic Snakes and Ladders, with 63 squares (nine squares repeated seven times) which symbolically retrace the stages of human life, with incidents, transitions, fortune and death. The game is a journey on an environmental scale in which the markers are the players themselves, as they move across a living board consisting of characters who represent animals: a jungle with which, along their way, they relate towards the final square.   Players: Open to all   Rules: Players move by throwing a pair of dice. There are no written rules, so the players establish new rules depending on the square on which they find themselves and on the animal they relate to.

Il Gioco dell’Oca (2009-2014), a performance by Cherimus, was made possible thanks to the collaboration of MACRO-Museo di Arte Contemporanea Roma, as part of the Artists in Residence programme

Ryan Gander (1976, Chester, UK) Parallel Cards, cards, 2014 Courtesy the artist

With the numbers printed on both sides, the “parallel” version of Ryan Gander’s Black Jack lets the player steal the opponent’s cards to use in his or her own hand. The cards, which are designed by the artist, reflect the idea that there are parallel realities in every situation. With a poetic vision derived from conceptual art, which includes sculptures, films, photographs, books, installations and performances, the works of this English artist are attempts to surpass limits or rules, in order to encourage viewers to pose new questions and to reflect. Tradition, particularly in its linguistic, artistic and narrative forms, is a constant source of inspiration that Gander uses for new, often playful and irreverent constructions, which are pieced together on each occasion in a participatory manner.

INSTRUCTIONS

The game: The aim of the game is to reach the score closest to 21 K, Q and J are worth 10 points The ace is worth 1 or 11 points, at the player’s discretion   Players: Two players, one dealer. Open to all.   Rules: Two players sit opposite each another. The dealer is to one side. Two cards are placed in the card holder. The North player sees the face of the cards, South sees the back. North begins, choosing whether to take a new card or to stay with the ones already dealt. North can take up to five cards. South then plays, making a single move: keeping the same hand of cards or changing cards, telling the dealer which cards to move from north to south and vice versa. The dealer exchanges all the cards together. The player whose cards add up closest to 21 wins the hand. South opens the next round, North opens the one after, and so on. The players cannot make a mistake. If the score of both players is equidistant from 21, with one player above 21 and the other below, the winner is the player who has not exceeded 21. If both players have the same score, it is a draw. The pack is played until there are fewer than 5 cards. The player with the greatest number of hands won, wins the game.

 

Falke Pisano (Amsterdam, 1978) TThe Speakers, 2014, printed playing cards. Courtesy: Ellen de Bruijne Projects, Amsterdam; Hollybush Gardens, London, and the artist

Influenced by modernist abstraction and by the tradition of conceptual art, Pisano works on the interaction between language and object, using sculpture, performance, written texts, videos, geometry and drawing. After Figures of Speech, a series in which she analysed the way a work is conceived, produced and exhibited – a key methodological tenet of her artistic practice – in 2011 she began a new corpus of works. This is devoted to an analysis of the historical moments in which the body – in both its material and its political form – goes through a crisis. The analysis of the subject as the result and function of a network of relationships is a key aspect of her work.

INSTRUCTIONS   Five groups of six cards each guide a conversation that revolves around a particular object. As in a role play, each player impersonates a character who is defined by the way the player communicates and by the position of his or her body. At this point it is up to the group to continue and to direct the discussion.   Players:  2-6 players. Open to all   Rules: The players sit down around the table, the cards are shuffled and placed in piles on the board, then distributed: each player takes a speaker card (the first person to sit down starts, then clockwise), in the same order each player takes a position card. One player (the last person to sit down) takes the top gesture card and this player also takes the top object card. The players start a conversation, departing from or revolving around the object card. The other cards determine what each of the speakers will speak about and the way they will take part in the conversation. Any player who wants to change the course of conversation can take a redirection card at any moment. If the table is not full yet, a new player can join by taking a speaker card, a position card and a redirection card. If a player wants to leave the conversation she/he can do so by placing her/his cards on the bottom of the pile where it belongs, and then taking a redirection card. When the redirection cards are used up, the conversation will finish when the players feel there is nothing to talk about anymore.

A – The Speakers: The communicator: Always speaks in relation to the conditions of reception of each speech-act The publicist: Always speaks in relation to the process of making public implied in each speech-act The oracle: Always speaks in relation to what is kept private The performer: Always speaks in relation to the performative potential of each speech-act The author: Always speaks in relation to the author-subject construction behind each speech-act The producer: Always speaks in relation to the conditions of production of each speech-act   B – The Objects The mask: The object hides one’s face or enables one to take an other identity The speaking object: The object gives the power of speech to the person holding it The pointer: The object can be used to point at texts, body-parts or other things that for various reasons should not be touched The weapon: The object is used in offence or defence, to disintegrate or fixate The woven textile: The object is used to preserve and pass on knowledge within a community The magic wand: The object has the power to put objects, people or places under taboos.   C – The Gestures Give the object to another speakers Take the object Hide the object from all speakers Show the object to all speakers Take another Object Card and show both objects to all speakers Hide the object and only speak about what it is not   D – The Positions The reclining position: Expressing a reluctance to bring forward the conversation The ambivalent position: Divulging simultaneous conflicting reactions on what is being said The contra position: Proclaiming opposition to what is being said The supportive position: Voicing encouragement for what is being said The playful position: Conveying an inclination towards frivolity in conversation The persuasive position: Demonstrating a will to convince the other speakers   E – The Redirections The voluntary redirection: Everyone how wants to change cards or exchange cards does so, the object stays the same, the gesture card can be transferred to another player The complete and chaotic redirection: all cards change hand or position in whichever way desired by the speakers The discursive redirection: A discussion takes place about which cards will be changed or exchanged The associative redirection: The Object Card is turned face down, the conversation is continued on the basis of associations The speakers redirection: The card stay in the same position, the speakers move one place clockwise The object redirection: A new Object Card is taken from the pile, the conversation guides the transition from the old object to the new object

Anna Scalfi (Trento, 1965) Partout où les circonstances l’exigeront, 2014, balls, rope, racquets Courtesy the artist   Royal tennis (Jeu de Paume in French) came into being in the late sixteenth century and soon spread to most European countries. The players initially used the palms of their hands, protected by gloves, and then a sort of racquet, to hit the ball into their opponent’s court, over a rope dividing a rectangular field. The rules varied from place to place. Representatives of the French Third State met on 20 June 1789 in the hall used for this game in the Palace of Versailles, when they found that their usual assembly hall had been closed by order of King Louis XVI. Upon the proposal of J.J. Mounier, they made an oath (known as the Tennis Court Oath) that they should never separate and that they would meet anywhere that circumstances required (partout où les circonstances l’exigeront), until the country had a constitution. Thus began the process that ultimately led to the French Revolution and to the definitive fall of the monarchy.

INSTRUCTIONS   The game:  Wherever circumstances so require, set up a royal tennis court that allows people to come together and not to separate until they have identified an achievable purpose. Ultimately, play together by agreeing on rules.      Players: Open to all.   The exercise involves a new approach to both practice and ideas, freed from necessity and inspired by a sense of urgency. An experiment with no expected outcome, flowing freely through the intricacy of the process. An exercise within the inertia of its own process, taking shape within the evidence of what can be changed. An action that is intimately pursued and based on real hope, and that may also extend out along a common line. A mobile conception on the fulcrum of the idea that generates it and of the system that admits it, a powerless action that rejects the established rhetoric of perfect confrontation, technically antagonistic to any act that might change it. An exercise that complies not with some certified model of protest but with a practice of research that is recognised as legitimate. A revolution scientifically accomplished by means of concealed access to spaces that give onto what has not yet been ordained. An exercise designed not to win the game but to change its rules. In which the revolution is not the objective but rather the consequence, as taught by the father. In which the exercise has the indomitable confidence of the game, as demonstrated by the mother. And courage is a state of love that has no doubt that it can be maintained. In the idea of what was, because it exists. In a generosity filled with scruples that approves rules that can at least be broken, and that cannot regulate what is yet to be found. A. S. E.

Valentina Vetturi (Reggio Calabria, 1979) La mossa di Ettore, 2014 , traccia audio, tavolo - scacchiera / audio track, table-board Courtesy l’artista /the artist

Valentina Vetturi (Reggio Calabria, 1979) has always had a close eye on the relationship between memory, performance and writing, which she transforms into an experiential fresco that is both new and regenerated in each work. As part of her Esercizi di Rivoluzione series of performances, the artist presents La mossa di Ettore, a work inspired by Ettore Majorana (1906-1938?), a nuclear physicist and chess player, whose mysterious disappearance spawned a whole series of theories. A voice, broadcast into the museum galleries, talks about a chess game, played specially on 5 October at MACRO – Museo d’Arte Contemporanea Roma, by two great chess masters, Lexy Ortega (Camaguey, 1960) and Massimiliano Lucaroni (Latina, 1969). With them, the artist introduced a new chess move inspired by Majorana, who is said to have decided to pull out from a potentially disastrous situation after he became involved in the possible development of nuclear fission. The space also has a table-chessboard, with engraved squares and pawns frozen in place in anticipation of the end of the game. The work conveys the mystery of the sensational decision to avoid a destiny for which the scientist did not wish to be responsible, while also introducing a new discussion on the importance of his action.

A short biography of the players

Lexy Ortega (Camaguey, 1960) is a Grand Master and Italian chess champion of 2009. He has been the Technical Director of the male and female national team since 2013. He has coached the Mexican Olympic team as well as the Olympic team of the Republic of San Marino. The winner of about sixty international tournaments, he has battled on the chessboard against some of the world’s greatest players, including Tal, Romanishin, Psakhis, Petrosian, Balashov, and Caruana. In 1978 he was the junior champion of Cuba, a nation with a great chess tradition.

Massimiliano Lucaroni (Latina, 1969) is a FIDE Master and an International Master player. He was a finalist in the absolute Italian Individual Championship in 1994, and is still the captain-player of the Latina team, which ranked third and fourth in the last two editions of the Master series (the premier league) of the Italian Team Chess Championship. A FIDE Master international trainer, he has also held important positions for several years in the Italian Chess Federation .

La mossa di Ettore (2014) is a work by Valentina Vetturi in collaboration with the Italian Chess Federation and has been made possible by the collaboration of MACRO-Museo d’Arte Contemporanea Roma, as part of its Artists in Residence programme.

Raphaël Zarka (Montpellier, 1977) A Free Ride, 2014 Skateboarders on a replica of a 1962 sculpture by Tony Smith, Courtesy of the artist and Galerie Michel Rein, Paris/Brussels

Influenced by minimalist sculpture and Land Art, the art of Raphaël Zarka focuses on shapes, surfaces and urban spaces. An artist and skater, Zarka explores the hidden potential of the materials and volumes found in modern sculpture. He is determined to reveal a new, more dynamic use of them: “What strikes me”, says Zarka, “is the fact that skaters prefer to have a mechanical rather than aesthetic relationship with the work. For them, the only thing that makes a sculpture interesting is the variety of movements it suggests.” In 2007 he created Riding Modern Art, an installation consisting of a series of 11 photographs of skaters on public works of art, together with a reproduction of a sculpture by the Polish constructivist artist Katarzyna Kobro. In Esercizi di Rivoluzione, Raphaël Zarka has symbolically recreated Free Ride, a work made in 1962 by the minimalist sculptor Tony Smith, which is now in the collection of MoMA in New York. It is not just a copy but a reinterpretation in wood, designed to be brought back to life by skateboards and by the acrobatic feats of athletes and amateurs who happen to be going through Piazza Alighiero Boetti.

INSTRUCTIONS   The game: the aim is to go over and bring to life the sculpture on a skateboard   Players: open to all   Rules: no rules   The skaters are temporarily idle with the sculpture. They reify the artwork – treat it as a simple object, a piece of material or an ensemble of materials formed together*. More accurately, the sculptures are instruments on which the skaters reenact, without knowing it, Galilean experiments of the inclined plane and brachistochrone curves. The “idle” sculptures thus enter into the large category of instrumental architecture destined for the intrinsic study of solid mechanics.   *Applied to architecture, this is the central idea in Iain Borden’s books Skateboarding, Space and the City

The performance by Raphaël Zarka, A Free Ride (2014), is sponsored by Carhartt  

Italo Zuffi (Imola, 1969) Partita a bocce con frutta, 2008 – 2014, fruit, wood�Courtesy the artist and Pinksummer, Genova

For many years, Italo Zuffi has devoted part of his artistic research to the theme of antagonistic impulses and the instinct to compete. Partita a bocce con frutta (“game of boules with fruit”) takes inspiration from the popular game of boules, adopting its traditional rules, but in this version the balls are actually seasonal fruit. The first version of the game performed in Basel in 2008 and, shortly after, at the Rotonda della Besana in Milan, although on this occasion it was played with vegetables. The performance is inspired by a very popular game in Romagna, where the artist grew up. Zuffi writes: “The trick is to predict how the fruit will act, just before throwing it, anticipating the unpredictability of its trajectory. From the players’ point of view, the key thing is to identify with the weight and irregularity of each vegetable: to weigh up the object, make a quick calculation of the resistance and choose the right trajectory.” In a tournament in which professionals play against the artist himself (or his avatar), the public can observe, one throw after another, “the gradual formation on the court of temporary three-dimensional compositions – still lifes created by the desire for victory, added to or redrawn with each new throw.”

INSTRUCTIONS   The game Following the rules of boules, players try to get the highest score. The format is that of the traditional game.   Players The artist (or his avatar) challenges local players.   Rules Players take turns to throw their boule-fruits, trying to make them stop as close as possible to the small target ball. To achieve their result, players can also send off their opponents’ boules by hitting them with their own. When the players have thrown all their boule-fruits, it is seen how many of the same player’s have come closest to the ball and a point is given to the player for each one.

BIOGRAPHIES

Nina Beier (1975, Aarhus, Danimarca; lives in Berlin) Solo exhibitions ( selected) 2014: Nina Beier, David Roberts Art Foundation, London; Nina Beier, Office Nature Nobody Pattern, Croy Nielsen, Berlin; Valuables, Proyectos Monclova, Mexico; 2013: Razor Chain Mineral, Small Collections Room, Nottingham Contemporay; Liquid Assets, Glasgow Sculpture Studios, Glasgow; Heavy Hand, Standard, Oslo; 2012: Shirts vs Skins, Laura Bartlett Gallery, London; Four Stomachs, Objectif Exhibitions, Antwerp; 2011: Kunsthal Charlottenborg, Copenhagen; Afrika, Croy Nielsen, Berlin. Group exhibitions (selected) 2014: The Brancusi Effect, Kunsthalle Wien, Wien; Accordion, Laura Bartlett Gallery, London; Nostalgia, Centre for Contemporary Art Glasgow; 2013: l’Image dans la sculpture, Centre Pompidou, Paris; When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit; 2012: The New Public, Museion, Bolzano; The Artist’s Institute, New York; One on One; KW Institute For Contemporary Art, Berlin; The Complete Works at Performance Year Zero, Tate Modern, London; 2011: Modify, When Needed, Moca, Miami; Museum of Speech, Extra City, Antwerp; Under Destruction I, The Swiss Institute, New York. Nina Beier received “The Prize of the Böttcherstraße” 2014, Kunstverein Bremen.

Cherimus Cherimus was created in 2007 in Perdaxius (Sardinia) by three friends: Marco Colombaioni, Matteo Rubbi and Emiliana Sabiu. Cherimus is a Sardinian word that means “we want”. Cherimus aims to bring about a new relationship between visual art, culture and local communities, thus promoting a type of art that challenges today’s well-established models through an interaction with the contemporary world and its most pressing issues. Il Gioco dell’Oca was first created by Marco Colombaioni in 2009 in Valledoria, Sardinia, as an open-air painting where anyone could come in and play. In Esercizi di Rivoluzione, the project, which takes a performative approach to the ancient game of Snakes and Ladders, opens up to a fantasy world inhabited by all types of animals. The squares come alive and the board itself becomes active and engaging, taking the viewer on a journey through the museum galleries.

Ryan Gander (1976, Chester, UK) Solo exhibitions (selected) 2014: Make every show like it's your last, Manchester Art Gallery, Manchester (UK); Explorers v's Pioneers, TARO NASU, Tokyo (JP); 2013: The artists have the keys, 2 Willow Road, London (UK); Make every show like it's your last, Frac île-de-France, Le Plateau, Paris (FR); Associative Photographs, Zabludowicz Collection, New York (US); 2012: Esperluette, Palais de Tokyo, Paris (FR); Boing Boing Squirt, Museo Tamayo Arte Contemporáneo, Mexico City (MX); The Fallout of Living, Lisson Gallery, London (UK); Lost in my own recursive narrative, Fondazione Morra Greco, Naples (IT). Group exhibitions (selected) 2014: I Would Like to Join a Club and Hit Myself with It, Castlefield Gallery, Manchester (UK); The Human Factor, Hayward Gallery, London (UK); (2014): Unlimited, Art Basel, Basel; Perduti Nel Paesaggio, MART, Museo di arte moderna e contemporanea di Trento e Rovereto (IT); Free Play, Centre Pompidou, Paris (FR); 2013: Abstract Generation: Now in Print, MoMA, New York (US); ONE TORINO #1, Castello Di Rivoli, Turin (IT); A House of Leaves. Third Movement, David Roberts Art Foundation, London (UK); 2010: A performance Cycle, Nomas Foundation, Rome (IT). His work is included in leading museum and foundation collections such as Arts Council Collection, London (UK); The Boijmans van Beuningen Museum, Rotterdam (NL); British Council, London (UK); MacBA, Barcelona (SP); MaMBO, Bologna (IT); MCA Chicago, (US); The National Museum of Art, Osaka (JP); Tate Collection, London (UK).

Falke Pisano (Amsterdam, 1978) Solo exhibitions (selected) 2014: Cycle Two, Praxes, Berlin; Constellations of One and Many,Ar/ge, Bolzano (with Archive Books, Berlin); 2013: The Body in Crisis, The Showroom, London; 2012: The Body in Crisis, De Vleeshal, Middelburg; 2011: The Body in Crisis (Distance, Repetition and Representation), Ellen de Bruijne Projects, Amsterdam;  Desert Solitaire, CAC (with Benoît Maire), Vilnius; 2010: Public Speech, Transmission Gallery, Glasgow; Conditions of Agency, Extra City , Antwerp; 2009: Figures of Speech (Formation of a Crystal), Hollybush Gardens, London; Organon and the Wave, Kunstverein, Graz. Group exhibitions (selected) 2014: One Million Years - System und Symptom, Museum für Gegenwartskunst, Basel; Per/Form. How to do things with(out) words, Centro de Arte Dos de Mayo, Madrid; 2013: Lecture-Performance: New Artistic Formats, Places, Practices and Behaviours, MUSAC, Léon; Prix de Rome, de Appel, Amsterdam, 13th Istanbul Biennale, Istanbul; 2012: Trabajo, Poder Y Control, Museu d ́Art Contemporani de Barcelona (MACBA), Barcelona; Abstract Possible, Tensta Konsthall, Stockholm; 2011: We are Grammar, Pratt Manhattan Galleries, New York; 2010: A Performance Project, Kunsthaus Bregenz, Bregenz, Austria; Rehabilitation, Wiels Contemporary Art Centre, Brussels; 2009: Fare Mondi, La Biennale di Venezia- 53. Esposizione Internazionale d’Arte, Venice; 2008: Principle of Hope / Matter of Fact, Manifesta 7, Trenitino- Alto Adige. She performed at Museo Reina Sofia (2012), la 5a Biennale di Berlino, the 5th Berlin Biennale (2008) and Lisson Gallery, London (2007).

Anna Scalfi (Trento, 1965) Performances, actions, projects (selection) 2013: La stanza delle Asole, in "ARTE PUBBLICA Modelli ed esperienze nazionali e internazionali a confronto sul tema arte pubblica e reti socio-economiche", MACRO, Rome; Collectors Anonymous, Basel, London, Paris ; Colo, is, colui, cultum, ère, in "La cultura: spesa o investimento", MUSE - Museo delle scienze,Trento; Agonale, in “Autoritratti. Iscrizioni del femminile nell'arte italiana contemporanea”, MAMbo - Museo d'Arte Moderna di Bologna, Bologna; Il curatore giuridico. Esercitazioni nella palestra giurisdizionale, Università di Torino, in "Legally", Biennale Democrazia 2013, Turin; 2012: Demo, in “Scuola politica 2012”, Fondazione Trentina Alcide De Gasperi, Pieve Tesin; Il campo è ovunque, Libera Università di Bolzano, Bolzano; 2010: L’opera è il pubblico, in “Il titolo è il pubblico”, Südtiroler Kunstlerbund, Bolzano-Bozen; Visible. where art leaves its own field and becomes visible as part of something else, edited by Angelika Burtscher, Judith Wielander, a project by Cittadellarte-Fondazione Pistoletto, Biella and Fondazione Zegna, Biella.

Valentina Vetturi (Reggio Calabria, 1979) Valentina Vetturi’s art interweaves memory, writing and performance. Her works are the result of long processes involving fragments of apparently diverse forms of reality. The countless invisible characters and voices that inhabit her performances and installations lie on the never-ending borderline between presence and absence, interpreting the world around us. She has taken part in residency programmes in Italy and abroad and her works have been shown in public and private institutions, including Kunsthalle Göppingen (Germany), Tranzit.ro Bucharest, Istituto Svizzero Roma, Fondazione Sandretto, MACRO, Auditorium Roma, Spazio Salenbauch (Venice), uqbar (Berlin), FAAP San Paolo. She has worked with Galleria Marilena Bonomo in Bari.

Raphaël Zarka (Montpellier, 1977) Raphaël Zarka’s work has been presented through screenings such as Species of Skateboarding, Tate Modern (London) and Video et Après, Centre Pompidou (Paris) in 2011. His first monography was published in 2012 by B42 / Galerie Michel Rein. He was awarded the Ricard Prize in 2008, and was nominated for the Marcel Duchamp Prize in 2013. His work is included in collections of leading Museums and Foundations such as Musée national d'art moderne, Centre Georges Pompidou, Paris; Fonds National d'Art Contemporain, Paris; Fondation d'Entreprise Ricard, Paris; Musée d'Art Moderne de la Ville de Paris; MUDAM, Luxembourg; Zabludowicz Foundation, London; Museum of Old and New Art, Hobart, Tasmania, Australia.

Italo Zuffi (b. 1969, Imola; lives in Milan ) Solo exhibitions (selected) 2013: Gli ignari, abitazione privata/Private house, Milan (IT); 2012: La penultima assenza del corpo, Fondazione Pietro Rossini, Briosco (IT); 2010: Zuffi, Italo, Pinksummer contemporary art, Genova (IT). Group exhibition (selected) 2014: Le leggi dell’ospitalità, Galleria P420, Bologna (IT); I baffi del bambino, Lucie Fontaine, Milan (IT); To continue. Notes towards a Sculpture Cycle | Scala, Nomas Foundation, Rome (IT); La Pelle - Symphony of Destruction, MAXXX –Project Space, Sierre (CH); Le statue calde, Museo Marino Marini, Florence (IT); 2013: Drive my car, OPENING Via Pola, Milan (IT); ItaliaTropici, a performance & contemporary theatre festival at Angelo Mai Altrove Occupato, Rome (IT); Il fascino discreto dell’oggetto. Figura 2: Natura Morta, GNAM, Rome (IT); Almanac, Newman Popiashvili Gallery, New York;  2012: Fuoriclasse, Villa Reale, Milan (IT); Mexico City Blues, Shanaynay, Parigi (FR) and New York Gallery, New York; FutureLandscape, A changing exhibition,Forte Marghera, Mestre (IT).