Comparison between three European cities through the lens of the artist MIRESI.

A series of works dedicated to the “glances” and “architectures” of three European cities in parallel with the spaces and collections of the Capitoline Museums.

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The exhibition is part of the project "From La Biennale di Venezia & Open to Rome. International perspectives", a collaboration between Roma Capitale, Department of Cultural Growth - Capitoline Superintendence for Cultural Heritage and PDG Arte Communications and curated by Paolo De Grandis, Claudio Crescentini, Carlotta Scarpa. With the patronage of the Union of Italian Jewish Communities. Museum services of Zètema Progetto Cultura.

The project, initiated by the Capitoline Superintendency in 2016, is dedicated to the presentation in the Capitoline exhibition spaces of international exhibitions / installations from the International Art Exhibition - La Biennale di Venezia and from OPEN International Exhibition of Sculptures and Installations, connected to the Venice International Film Festival, recomposed and remodeled specifically
for the capital. The aim is to bring together the "perspectives" of art of two cities that work to make the experiences of international art travel across the national territory. From the lagoon city, in fact, to the capital.

Curated by Claudio Crescentini, Paolo De Grandis and Carlotta Scarpa, technical-scientific coordination Arianna Angelelli and Barbara Nobiloni, the Italian artist Miresi, who has been living and working for over 20 years in Berlin, presents a series of works dedicated to the "looks" and "architectures" of three European cities - Berlin / Rome / Barcelona - incorporated into the museum spaces and the Capitoline
collections. In particular, architecture and specifically industrial archeology will be the dominant theme of the exhibition at the Capitoline Museums, Montemartini Power Plant, a truly unique place within the network of municipal museums in the city of Rome, true testimony of an industrial and technological past equally important for the modern city of Rome as the site of the first public thermoelectric power station in the capital, the San Paolo Thermoelectric Power Plant, inaugurated on 30 June 1912.

The works of Miresi will dialogue with such architectural perspectives in the continuous visual parallel with some architectures of the other two European cities witnesses of the transformation but above all of the vision of the "architectural time". While at the Gallery of Modern Art the artist will realize an installation of photographs of faces, of European looks, to talk with the "looks" of marble, bronze and terracotta of the cloister of the permanent sculptures that are part of the art collection of the museum.

A double visual track for a unique exhibition that is also enriched by the presence of unpublished photographs made by the artist in Rome specifically for this artistic dialogue.

Miresi is an Italian artist who has been dedicating herself to art for over three decades, creating installations that are increasingly engaging where painting, photography and music lead the viewer towards a different aesthetic perception. She lives and works in Berlin. Her artistic activity takes form and methodological continuity in the early eighties, at the time of revange of the pictorial aniconic culture. In particular around the group of new abstract painters curated by Giorgio Cortenova, who, through their works, traces a panorama of the young abstraction, counter-current in those years of triumphant figurativity. And Miresi is in the spotlight, right from the start, as the protagonist of those new researches that reject postmodern theories. In this context she also exhibited at the 11th Rome Quadrennial (1986), edited by Giuseppe Gatt. From the second half of the nineties the artist began to work and live in Berlin. From this period her art moves towards iconic themes in which her language expands into a tight dialectic space-surface; This problem, which began with abstract experiences, today finds within it the revelation of the image of everyday forms and identifiable through photography in the continuous sign relationship with painting. Since 2010 Miresi, in fact, develops her passion for photography in a mix with painting, working increasingly on the attempt to identify a new contemporary icon in the use of different media. Her artistic production moves between architecture and urban landscapes, unexpectedly carried by an energetic dynamism: the observer perceives the passion with which Miresi fixes her emotions, subjugated, for example, by the transparency of the dome of the Reichstag in Berlin by Sir Norman Foster, by the geometries of the Jewish Museum in Liebeskind, from the free spatiality of the skyscrapers on Potsdamer Platz. In her artistic career Miresi elaborates the idea of being able to capture, through painting, photography and music, another of her reference art, an entire event and not simply a brief moment, as she will do in the exhibition proposed for Rome, where painting and photography will integrate into an aniconic relationship between Rome and Berlin.

Miresi has exhibited in many Italian and European state galleries and museums. These include: Les Chances de l'Art, Bolzano (1994); Investitions Bank Berlin, Berlin (1998); WFP, Berlin (1998); Maria Skelling Gallery, Kopenaghen (2010); ACIT, Albrizzi Palace, Venice (2014); OPEN 17, International Exhibition of Sculptures and installations, San Servolo Island, Venice (2014); Deutsch-Russisches Museum, Berlin-Karlshorst (2015); Kunstdetektor Ateliertouren, Berlin (2016); OPEN 20, International Exhibition of Sculptures and Installations, Venice (2017); XVI International Architecture Exhibition, Arsenale of Venice (2018).