Pietro Fortuna: S.I.L.O.S

MACRO Testaccio

Piazza Orazio Giustiniani 4


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12 April – 7 June 2017This exhibition is now closed
Tuesday to Sunday 2pm–8pm
Opening: 11 April 2017, 6:30pm
Admission: €6 Full price, €4 reductions
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Three years after his previous solo show in Rome at the Galleria Nazionale d’Arte Moderna, MACRO Testaccio is hosting Pietro Fortuna’s S.I.L.O.S, curated by Pietro Gaglianò.

This career overview of the artist – who lives between Rome and Brussels – offers an anthological interpretation of the key issues and approaches in his work. Rather than a chronological review, the exhibition is a vantage point that showcases how for Pietro Fortuna process and conception have always prevailed over outcome. The cycle of works on show – around thirty in all, created specially for this exhibition in 2017 under the title S.I.L.O.S – summarizes a sense of making as a practice and theoretical core; as a claim for autonomy and for the possibility (indeed the right) of art to be unproductive.

According to the artist, “Art is a prophecy, not a prediction.” Everything that happens around one of his works occurs without a project, that is to say without any feeling of expectation surrounding its future fulfilment or manifestation as a form in the process of becoming; his works are shorn of the finalism so characteristic of contemporary production, cultural or otherwise. Writing about Fortuna’s work in 1995, Rocco Ronchi noted that, “these forms of making owe the sense of quietude, perfection and uselessness they instil in the beholder to their surprising independence from time.”

Fortuna’s humanism is quite distinct from the individualism generated by the dialectics of question and necessary answer. The rationale behind his approach may be found in the fact that his making coincides with time and space, as part of a ceremony that is closer to life and to how life is presented. Ronchi adds, “Here and elsewhere, his making is a gesture performed that asks nothing of time even as it leverages time.”

Pietro Fortuna lives between Rome and Brussels. After studying architecture and philosophy, while still young he began working on major theatre stage designs for the San Carlo in Naples, the Scala in Milan and the Fenice in Venice.

In the 1980s, he exhibited at the XVI São Paulo Biennial, at the Galleria Comunale d’Arte Moderna in Bologna, Ville Arson in Nice, the Kunstler House in Graz, the Frankfurter Kunstverein, and at the XII Paris Biennial. He created new cycles of work in the 1990s, focusing on installations and large-format works for exhibition at the Palais de Glace in Buenos Aires, the Galleria d’Arte Moderna in San Marino, the Museo d’Arte Moderna in Bogotà, the Galleria Comunale d’Arte Moderna e Contemporanea in Rome, the Le Carré Musée Bonnat in Bayonne, and the Museo Pecci in Prato. It was during this time that he founded Opera Paese, a cultural centre where major figures from the worlds of art, music and thought – Philip Glass, Jan Fabre, Michelangelo Pistoletto, Jannis Kounellis, Carlo Sini and Giya Kankeli to name but a few – could meet and exchange views. In recent years, he has staged one-man shows at the Watertoren Centre for Contemporary Art in Vlissingen, the XII Carrara International Sculpture Biennale, Tramway in Glasgow, the Fondazione Morra in Naples, Macro in Rome, the Marca in Catanzaro, the Rome Quadriennale, and the Galleria Nazionale d’Arte Moderna in Rome.

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