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Sunday, May 19th 2019 MoRE has presented the new virtual exhibition MoRE Curators and the new website section Unrealised Exhibitions.

The virtual exhibition MoRE Curators brings together projects by different artists invited for the occasion by curators external to the museum. Its objective is to investigate different curatorial approaches, opening the museum to new contributions. By articulating different curatorial voices and styles, the exhibition presents unrealised artworks from different generations of artists and a new network of relationships, perspectives, research and insights.

The curators invited for this show are: Simone Ciglia (contemporary art historian, research assistant at MAXXI, Roma), Elena Forin (independent curator and LaRete Art Projects), Antonio Grulli (independent curator), Luca Lo Pinto (curator, Kunsthalle Wien), Fabiola Naldi e Claudio Musso (art historians, professors and independent curators), Raffaella Perna (fellow researcher, Sapienza Università di Roma), Christiane Rekade (curator, artistic director Kunst Meran Merano Arte), Maria Chiara Valacchi (curator and journalist). 

Simone Ciglia presents a project by Gianfranco Baruchello (Livorno 1924), Do it yourself confession (1967), a confessional in which it is possible to self-administer the sacrament of confession.

Elena Forin has chosen a project by Alessandro Sambini (Rovigo, 1982) that consists of two "opportunities" for the cities of Milan and Trieste, two works dedicated to the themes of immigration and landscape which had the aim of building relationships between the inhabitants of the cities and therefore creating art installations in the public space.

Antonio Grulli proposes a project by Benni Bosetto (Milan, 1987). The artist worked for a year to design an exhibition set up using living sculptures inside a few apartments in Via Eustachi, Milan. The exhibition should have been visited with a map, that would have shown to the visitors a series of places, where they could have enjoyed a series of performances.

stazione by Emily Jacir (Bethlehem, 1972) has been chosen Luca Lo Pinto, who presents an intervention into the public space conceived – but never realized - by the Palestinian artist Emily Jacir for a collateral project of the 53rd Venice Biennale titled Palestine c/o Venice in 2009. Jacir’s initial idea was to translate the names of each of the 24 vaporetti stops along route #1 of the water bus route into Arabic and to place the Arabic translations on all the stops next to their Italian counterparts.

Fabiola Naldi and Claudio Musso chose instead a project by Ericailcane (Belluno) which started in 2014 and was meant to fit into the second edition of the project FRONTIER - The Line of Style.

The artist, invited to conceive a pictorial work for the city's historic Gasometer, imagines a continuous narrative centred on the figures of two enormous dogs biting their tails and carrying on their shoulders the allegory of two cities or two sides of itself (Bologna?): one that lives in joyful harmony and one that, as a character shows, walks in a balance on a wire.

Artisti coraggiosi. Natura morta – 2 by Pablo Echaurren (Roma, 1951) is presented by Raffaella Perna. This unrealised project, proposed by the artist in 1974 to the Galleria La Margherita in Rome, involved the participation of the artist who, seating at a table inside the bare spaces of the gallery, equipped with papers, scissors and glue, would have asked the audience to join him in a performance: the visitors were asked to buy one of his work, deciding the price in advance, without knowing what they were going to buy. The hypothetical buyer was supposed to pay the artist in cash, with one or more notes, depending on his choice. The banknotes would become the artwork: cut, torn or intact, they would have been glued to sheets of paper and signed, as if they were traditional still lifes.

Christiane Rekade proposes Die Kristallader [The Crystal Vein] by Helen Mirra (1970, Rochester New York), a project in public space that the artist developed in 2014 as part of a competition for the city of St. Gallen in Switzerland. The assignment of the competition was that the artistic intervention should connect the newly built Natural History Museum, which is located in the periphery, with the city center through an irregular "line", a crack in the asphalt filled with a shiny metal

Maria Chiara Valacchi has selected Rolls Royce by Wendy White (Deep River, CT, 1971), a project that comes from the need to create an exhibition for the Rolls Royce Art Programme, an initiative related to the famous brand of automobiles, which was created to support bold and innovative ideas related to contemporary art.

MoRE also presents Unrealised Exhibitions , a new section of the website dedicated to all those exhibitions that have never been realised. As well as the unrealised artworks, also these projects, that have never been set up, allow us to look from a different perspective at the history of art of the XX and XXI centuries. There are many reasons for these projects to remain unrealised, and many stories to be told around them. Just think of some of the most famous opportunities in the XX century: the E42, which has never been set up but at the same time has been the starting point for an entire new district in Rome; Hans Haacke exhibition Shapolsky et al., Manhattan Real Estate Holding, censored at the Guggenheim Museum in New York in 1971, which led to the dismissal of the curator Edward Fry; or the exhibition La Mamma imagined by Harald Szeemann in the mid Seventies. MoRE has already addressed this theme in various ways, for example with the essay by Anna Zinelli, Pornographie. La sezione non realizzata alla documenta 5 di Kassel, and also tangentially inside the story of several projects stored inside our archive, designed for specific exhibitions, that turned differently than was originally planned: with this section MoRE has decided to commit itself on this front.

The new website section opened with Rifare (male) una stella, an unrealised show curated by Luca Cerizza and proposed to the 16a Quadriennale di Roma in 2015, that would have shown just one artwork by Paolo Chiasera, a small painting that portrays the curator of the exhibition, Cerizza, in the act of reproducing an artwork by Maurizio Cattelan. The work in question, Untitled by Cattelan, which was exhibited in 1996 at the XII Rome Quadriennale, was the reproduction of a page of a copy from 1978 of the newspaper "Avvenire" which featured a photograph of Aldo Moro while being held hostage of the Brigate Rosse in front of a star, the symbol of the terrorist organization.