MUSEUM FOR PREVENTIVE IMAGINATION
FALL WINTER 2020 — 2021
MACRO presents the eight exhibition projects that grant complete form to the Museum for Preventive Imagination, the program envisioned by the artistic director Luca Lo Pinto, which will develop like a palimpsest of editorial content until the end of 2022. The museum takes on the guise of a three-dimensional magazine, while its spaces assume the identity of specific columns and features, created to host different authors and languages. This marks the launch of a sweeping experiment of reflection on the status of the museum as institution, and on its ability to respond to the complexity of the present, erasing conventional disciplinary boundaries.
The editorial structure has been developed as a tool to allow the audience to freely find its way through a narrative that attempts to redefine the paradigms of the museum, the exhibition and the work of art. A voyage that spreads in a tentacular way through the architectural complex of the MACRO, branching into territories that are increasingly intertwined with the world of art, but are seldom presented in their specific modes of experience and in-depth investigation.
While the exhibition Museum for Preventive Imagination — EDITORIAL (17 July — 27 September) was conceived as an ideal manifesto, the eight exhibitions opening on 3 December are autonomous projects, which as a whole constitute the columns of a living magazine whose contents will continue to be revealed and modified over time. In the new wing of the museum, the SOLO/MULTI section tests new approaches to the exhibition as medium, through solo and group projects; located in the galleries connecting the old and new wings, RETROFUTURO is an environment in which to rethink the museum’s collection as a starting point for a collection in fieri on the new generations, where different timeframes overlap to investigate the role of a public collection of contemporary art in the 21st century. On the first floor of the old wing, MONO acts as a header for the interdisciplinary monographs of ARRHYTHMICS and POLYPHONY; on the second floor, MEDIUM explores experimental processes and languages, with IN-DESIGN, CHAMBER MUSIC, REHEARSAL, and BIBLIOGRAPHIC STUDIO.
AGORÀ is instead the museum’s discursive engine, a programme of encounters on an irregular schedule, running parallel and crosswise to the activities of the museum.