At Mondoromulo Gallery the solo exhibition by Alessandro Trapezio: Now I See You Now You See Me

On Saturday, October 11, Mondoromulo Contemporary Art Gallery in Castelvenere inaugurated Now I See You Now You See Me, a solo exhibition by photographer Alessandro Trapezio, curated by Francesco Creta.

Alessandro Trapezio "Now I See You, Now You See Me"

The exhibition brings together two of Trapezio’s photographic projects, united by a shared inquiry into the power of the gaze and the shifting dynamics between observer and observed.

In Closer — an homage to Dino Pedriali’s photographs of Pier Paolo Pasolini — we become the voyeurs, peering into the intimate world of performer Gaia Ginevra Giorgi. Conversely, in Power, Corruption & Lies, inspired by the 1983 New Order album of the same name, it is we who are observed: the viewer is overwhelmed by the models’ piercing gazes, caught in the tension of being seen.

Creta describes the exhibition as “a mirror in motion,” where looking and being looked at continuously exchange roles. “The show lives in contradiction,” he explains, “where the only constant is following the gaze — whether it belongs to the photographer, the model, or the visitor.”

Alessandro Trapezio "Now I See You, Now You See Me"

Trapezio subverts the traditional model-photographer relationship. His images privilege emotional connection and collaboration over technical perfection or idealized beauty. Through each encounter, he captures the exact moment when the subject’s gaze dictates the shot — a silent agreement in which control is shared rather than imposed.

In Closer, Trapezio evokes an almost tactile kind of vision — what Jacques Derrida called “haptic seeing.” The artist doesn’t invade the subject’s space; instead, he surrounds it, turning the act of looking into a suspended intimacy. The accompanying sound installation enhances this sense of isolation, transforming the viewing experience into a private “peep show” within the gallery.

The exhibition opens, instead, with the large-scale posters and Polaroids of Power, Corruption & Lies. Here, the models reclaim their image: imperfections, creases, and marks on the prints challenge the ideals of polished commercial photography. Each subject intervenes directly on her portrait, asserting authorship and agency in what becomes both an aesthetic and political act.

Alessandro Trapezio "Now I See You, Now You See Me"

Ultimately, Now I See You Now You See Me is a study of vision in its purest form — stripped of technical artifice and moral filters. Trapezio’s work exposes the contradictions of contemporary seeing, in a world that lives by appearances yet fears true exposure. His photographs invite us to slow down, to be both spectators and participants in a reciprocal act of observation — where looking becomes a way of touching, and every gaze reveals as much about us as about the one we see.

Galleria Mondoromulo Arte Contemporanea

Strada Nazionale Sannitica, 169 – 82037 Castelvenere BN

Date 11 ottobre - 10 gennaio 2026

Linda Fregni Nagler exhibition GAM Turin: the first Italian retrospective

From October 29, 2025, to March 1, 2026, the GAM – Galleria Civica d’Arte Moderna e Contemporanea di Torino presents the first Italian institutional retrospective dedicated to Linda Fregni Nagler (Stockholm, 1976), curated by Cecilia Canziani, as part of TERZA RISONANZA.

Linda Fregni Nagler, Deardevil, 2014

The Swedish-born, Milan-based artist uses photography as a means of inquiry and reconfiguration of the visible, intertwining historical research, collecting, and a deep reflection on the materiality of the image. Her practice examines iconographic conventions, visual clichés, and the use of anonymous images, constructing narrative devices that open up new reflections on our relationship with time, memory, and perception.

The exhibition, titled Anger Pleasure Fear, brings together more than twenty years of work, unfolding through different cycles. At its core lies the dialogue between The Hidden Mother (first presented at the 2013 Venice Biennale) and the new series Vater (Father), dedicated to the ritual duel Mensur, once practiced by student fraternities in Central Europe, where scars became emblems of courage and distinction. Through this encounter between presence and concealment, body and symbol, Fregni Nagler’s photography becomes a space of poetic tension and ethical reflection.

Around this central dialogue, the exhibition develops through several key series that articulate the artist’s ongoing research. Pour commander à l’air (MAXXI Prize 2014) reinterprets press images stripped of text and context, turning them into open fragments of meaning, while the ongoing series Untitled and Smokes, clouds, explosions engage with modernity through photographic enlargements and lantern slides from the artist’s collection — the same archive that forms the basis for the performance Things that Death Cannot Destroy.

Linda Fregni Nagler, Vater (LFN_026), 2025

The exhibition also features seminal works such as Non voglio uccidere nessuno, an early series foreshadowing her later themes, the new project Little History of Subjugation, exploring the ambiguous relationship between human and animal, and a collaborative work with physicist Michael Doser: a glass plate hand-coated with silver gelatin and exposed to a beam of antiprotons, testifying through the body of photography to the existence of antimatter.

Through the acts of collecting, observing, and reinterpreting, Linda Fregni Nagler transforms photography into a living form of thought — a reflection on the image as both object and subject of memory. Her works inhabit a liminal space between document and vision, science and poetry, evoking the fragile balance between history and imagination.

Linda Fregni Nagler, A Moment of Suspense, 2014

The exhibition is accompanied by a catalog published by Quodlibet, featuring essays by Cecilia Canziani, Geoff Dyer, Luisella Farinotti, Federico Nicolao, and Dieter Roelstraete, underscoring the international scope of an artist who, for over two decades, has been exploring photography as an archive of contemporary sensibility.

GAM – Galleria Civica d’Arte Moderna e Contemporanea di Torino

Via Magenta, 31, Torino

Date 29 ottobre - 1 marzo 2026

Visioni Estatiche // The Victory over the Sun at Atelier Marco Bagnoli, Montelupo Fiorentino

On Friday, October 31, 2025, at 3:30 p.m., the Atelier Marco Bagnoli in Montelupo Fiorentino hosts Visioni Estatiche // The Victory over the Sun, an event conceived by Marco Bagnoli and organized by Associazione Spazio X Tempo.

Marco Bagnoli oracolo infranto : Vittoria sul sole 2025

The initiative unfolds in two parts: a symposium dedicated to Fulvio Salvadori, followed by the premiere of the scenic work L’Oracolo infranto – Fragments from The Victory over the Sun, with music and dramaturgy by Alessandro Magini and direction by Giuseppe Scali.

The day opens with a roundtable honoring Fulvio Salvadori (1937–2021) — writer, philosopher, and art critic — whose thinking continues to shape contemporary discourse. The speakers include Bruno Corà, president of the Fondazione Palazzo Albizzini Collezione Burri, and Father Bernardo Gianni, abbot of San Miniato al Monte, moderated by art historian Marco Bazzini. The event marks the official presentation of the Biblioteca Sospesa – Fulvio Salvadori Study Center, a collection of over 5,000 volumes preserved at the Atelier Marco Bagnoli and now open to scholars by appointment. The initiative, supported by Bagnoli, aims to safeguard and promote Salvadori’s intellectual legacy — a rare synthesis of philological rigor and poetic insight.

The creation of the Biblioteca Sospesa is part of a wider project that includes the publication of Scritti Sospesi (Lindau, 2020) and the 2023 symposium Il Tempo del Testimone. Together, these initiatives seek to reinterpret Salvadori’s thought as a tool for reading the contemporary world. Closely connected to artists such as Marina Abramović, Shirazeh Houshiary, Chen Zhen, and Marco Bagnoli, Salvadori embodied a form of criticism that combined intellectual precision with metaphysical openness.

Biblioteca Sospesa - Centro Studi Fulvio Salvadori - Atelier Marco Bagnoli

The second act of the day is devoted to the performance L’Oracolo infranto – Fragments from The Victory over the Sun, a one-act composition for voices, violin, and electronic music, structured in seven tableaux. Inspired by the 1913 Russian Futurist opera by Aleksej Krucenych, with music by Michail Matyushin and stage design by Kazimir Malevič, the work revisits the visionary roots of modernism. In his essay The Square Set Diagonally, Salvadori linked Malevič’s Black Square to the liberating energy of The Victory over the Sun, interpreting it as a passage toward “a space of levitation and cosmic freedom.”

For Magini, L’Oracolo infranto is “an abstract liturgy, a shattered oracle, a suspended vision. A theater of residue, where words, images, and sounds rise from the depths of time as fragments of an unfinished rite.” The score unfolds as a broken prayer — a sonic vision for a post-luminous world in which light and meaning dissolve into pure perception.

By intertwining critical memory and contemporary creation, Visioni Estatiche // The Victory over the Sun renews the dialogue between art and thought, celebrating the spiritual tension at the heart of Salvadori’s legacy and Bagnoli’s practice.

Marco Bagnoli - Biblioteca sospesa

The conference will be recorded and later made available on the Atelier Marco Bagnoli platform, furthering Spazio X Tempo’s mission to preserve and activate a living archive of ideas and visions.

Atelier Marco Bagnoli

Via della Quercia, 9 Montelupo Fiorentino - FI

Date 31 Ottobre 2025