The opening of a new, major exhibition project of international caliber staged inside one of the emblematic venues of the Italian city most affected by the recent pandemic today takes on a strong symbolic value, as a signal of reawakening and rebirth, as well as its intrinsic artistic and research value.
A leading exponent of Institutional Critique—the tendency towards the critical questioning of artistic institutions which emerged around the end of the 1960s—for the first time in 1965 Daniel Buren used a sun shade as a support for his “degree zero” of painting, the pattern of which with vertical white and colored strips measuring 8.7 cm became the visual tool used by the artist in all his works from then on, be it in exhibitions or public commissions.
Illuminare lo spazio, lavori in situ e situati draws on the encounter between these key points in the artist’s research and his more recent interest in light—in particular in the qualities and esthetic/constructive potential of optic fiber.