70 exhibitions including 9 offsite shows and 13 international collaborations with retrospectives on Mario and Marisa Merz | 147 events | 172 artists including 64 Italian and 107 international | 97 authors including poets, writers, architects, actors, curators, philosophers, anthropologists, critics, directors and dancers | 217 musicians | 1,605 workshops | 75,000 kids | 96 “domeniche lunghissime” | 22,032 hours of set-up | 8,250 kg of clay | 110 tons of glass fragments | 130 cubic metres of sand | 720 Damascus roses, aquatic plants and cyclamens | 47 publications | 43 floors of books | 45 Brahmins | 16 births | 7 days of fire rituals
While waiting to reopen our space in via Limone, Turin, with the PUSH THE LIMITS exhibition, and in order to stay close to our audience and friends in this period of social distancing, we will be celebrating our 15th anniversary with some social projects brought to you via social media channels.
#FondazioneMerzRewind, an online narration that collects images, texts and videos daily through our Instagram and Facebook profiles to illustrate the 15 years of exhibition history.
Through its Instagram profile, the Fondazione’s Education Department will also be contributing to the story, recalling the workshops and training activities given to the artists who have marked history with their interventions.
#scusinoncapisco / (“Sorry, I don’t understand”) will see the first digital edition of our public discussion programme live on Instagram from 4 May and for eight Sundays at 4.30pm Italy.
The event will take the form of a two-way dialogue shared with the public that involves authors, intellectuals, professionals and figures from the academic and business world with the aim of offering a better understanding of the languages and thinking behind works of contemporary art, but it will also reflect on the role of art in this critical moment.
#RaccontoCaptivus is a diary of trapped works. This series will start on the occasion of the Museum Night (16 May 2020). On a night of empty museums, in empty cities, here we imagine that the works, although they remain closed off to visitors, can be the spokespeople for a collective experience by describing the silence, solitude, fears and hopes of the places and their souls.