Fondazione SoutHeritage as institution animated by the desire to adapt to new meanings and methods of contemporary art, promotes, with the support of a curatorial team composed by: Vincenzo Santarcangelo (philosopher), Fabio Vito Lacertosa (musician and curator) and Alfonso Guida (poet), an exhibition project dedicated to questioning the role of the contemporary art audience and its fruition through the works of artists such as: Ceal Floyer, Ignoto Frescante Meridionale (17th century?), Gino De Dominicis, Marie Lund & Nina Beier, François Morellet, General Idea (Felix Partz, Jorge Zontal, AA Bronson). The aim is to create a moment of dialogue, confrontation and research, on access to contemporary art and its values, on the spectator of visual art of our times and on the exhibition format as the organisation of a context of experience for the public.
With these elements, the exhibition project through its 3 titles potentially presents three different keys to interpreting the same exhibition, three interpretative hypotheses signed by 3 different authors, through which to read, reread and narrate an exhibition, as each title contributes to introducing a different logic in the reading of the exhibition and the exhibition space. The viewers, according to the chosen title, are invited and accompanied by the foundation's mediators on its suggestions to re-write their own "vision" by conceptually remixing the exhibited materials to create new semantic connections and new narratives.
Within this framework, the works on display are therefore intended as suggestions that seek to explore different aspects, connections, coincidences and discrepancies. In fact, thanks also to a concept of sampling certain forms of visualisation at the basis of numerous contemporary artistic productions (painting, installation, performance), they aim at structuring an exhibition not only as an exhibition of works and reflection on various languages, but above all as an experience of self-education of the public that refers to a more open and conscious vision of the cultural proposal.
By renouncing the curators' intention to establish a univocal method of reading the exhibition, the project presents itself as an exhibition format that, starting from a few works-witnesses that have already been rubricated and/or historicised, becomes the ground for promoting a greater understanding of art and a relationship with a citizenry that needs to be documented on the languages of the contemporary.