OGR Turin: Three New Exhibitions at the Crossroads of Art and Technology

From October 31, 2025, on the occasion of Torino Art Week, OGR Turin, the innovation hub of the Fondazione CRT, inaugurates three major international exhibitions that explore the intersection between art and technology, reaffirming its role as a center for interdisciplinary research and experimentation.

ELECTRIC DREAMS, 2025

The exhibitions — Laure Prouvost. WE FELT A STAR DYING, ELECTRIC DREAMS. Art & Technology Before the Internet, and Erzë Dinarama. DRUMMING FOR LOVE — present distinct perspectives on the dialogue between creativity and science, showing how contemporary art continues to shape our understanding of innovation and the future.

“OGR were conceived as a hub where culture and innovation meet,” said Anna Maria Poggi, President of the Fondazione CRT. “Through these projects, we position Turin on the global map as a reference point where art and technology converge.”

In Binario 1, WE FELT A STAR DYING by Laure Prouvost — co-commissioned by LAS Art Foundation and OGR Turin — is an immersive installation that delves into the paradoxical logic of quantum physics and its poetic potential. Created in collaboration with philosopher Tobias Rees and scientist Hartmut Neven, founder of Google Quantum AI, the work transforms quantum uncertainty into an experience of sound, light, and scent, turning scientific instability into creative energy.

In Binario 2, ELECTRIC DREAMS. Art & Technology Before the Internet — organized by Tate Modern and OGR Turin, curated by Val Ravaglia and Samuele Piazza — revisits forty years of artistic experimentation from the 1950s to the 1990s. The exhibition traces the origins of electronic and cybernetic art, when pioneering artists used early technologies from industrial and military contexts to challenge the boundaries of perception and communication.

WE FELT A STAR DYING, 2025

In Binario 3, artist-in-residence Erzë Dinarama presents DRUMMING FOR LOVE, a new installation developed within the S+T+ARTS4WaterII program, funded by the European Union. The work stems from research along the Po River, combining environmental data, field recordings, and community stories in a data-visualization piece that reflects on fragility, ecology, and resilience.

“At OGR every project aims to foster discovery, dialogue, and participation,” said Davide Canavesio, President of OGR Turin. “These exhibitions confirm our mission as a multidisciplinary laboratory where art and technology meet to explore the transformations of our time.”

DRUMMING FOR LOVE, 2025

Running until May 10, 2026, the three exhibitions transform Turin’s former railway workshops into a vast observatory of global artistic innovation — a place where imagination and technology merge to shape new ways of seeing and understanding the world.

OGR Torino

Corso Castelfidardo 22

Date

WE FELT A STAR DYING - ELECTRIC DREAMS

31 ottobre - 10 maggio 2026

DRUMMING FOR LOVE

31 ottobre - 2 novembre

Edvard Munch’s Expressionist Revolution at the Candiani Cultural Center

From October 30, 2025, to March 1, 2026, the Candiani Cultural Center in Mestre presents MUNCH. The Expressionist Revolution, a major exhibition curated by Elisabetta Barisoni and organized by the Fondazione Musei Civici di Venezia.

The project takes Edvard Munch as a starting point to explore the legacy of Expressionism and its explosive power — a force that has traversed more than a century of art history and continues to shape contemporary sensibility.

Edvard Munch, Chiaro di luna,1895

“I will no longer paint interiors with men reading and women sewing. I will paint living people who breathe, feel, suffer, and love.”

This famous statement by Munch encapsulates his pictorial revolution: an expressive urgency that breaks the boundaries between art and life, opening the way to a representation of the human being in all their fragility and existential tension.

The exhibition, exceptionally hosted on the third floor of the Candiani Center, originates from a precious nucleus preserved at the Galleria Internazionale d’Arte Moderna at Ca’ Pesaro — four graphic works by Munch (Anguish, The Urn, The Girl and Death, Ashes) — and unfolds through seven thematic sections. The itinerary places the Norwegian artist in dialogue with the movements that preceded and followed him: from Symbolism to Post-Impressionism, and from there to the Secessions of Munich, Vienna, and Berlin, where Munch became a central figure.

The Berlin Secession, founded in 1898, found one of its key sparks in Munch himself. His 1892 exhibition was violently attacked by traditionalist critics, provoking an irreversible rift that would pave the way for the avant-gardes. Alongside Munch, the exhibition presents works by Franz von Stuck, Max Klinger, Max Liebermann, Albin Egger-Lienz, as well as Italian artists such as Arturo and Alberto Martini, interpreters of a visionary and unsettling Symbolism.

The exhibition continues with a dialogue between the Norwegian master and the leading figures of European Symbolism — from Odilon Redon to Arnold Böcklin, from Félicien Rops to James Ensor — together with Italian artists like Adolfo Wildt, Cesare Laurenti, and Ugo Valeri, who reinterpreted those languages in dramatic and dreamlike ways.

Edvard-Munch, Two Old Men, 1910

A significant section is devoted to Munch’s legacy in German Expressionist printmaking, from the Die Brücke group with Erich Heckel to the next generation of Otto Dix and Max Beckmann, who translated the traumas of the twentieth century into raw, incisive imagery.

In the final section, The Contemporary Scream, the exhibition reaches the present day: from Renato Guttuso and Zoran Mušič, who bear witness to the violence of history, to Emilio Vedova, Ennio Finzi, Mike Nelson, Tony Oursler, Marina Abramović, and Shirin Neshat, all interpreters of a pain that still runs through humanity.

Exhibition view, foto Nico Covre

MUNCH. The Expressionist Revolution is thus a journey through the genealogy of modern unease — but also a reflection on the enduring vitality of Munch’s language. As curator Barisoni writes, “Munch’s scream has never been silenced: it is a sound that still resonates in the folds of the present, reminding us that art, to remain alive, must continue both to wound and to heal.”

Centro Culturale Candiani

P.le Luigi Candiani 30174, Venezia - Mestre

Date 30 ottobre - 1 marzo 2026

Lovis Corinth exhibition at the Alte Nationalgalerie in Berlin extended until 2026

The Alte Nationalgalerie in Berlin has announced the extension of its acclaimed exhibition In Sight! Lovis Corinth, the Nationalgalerie, and the “Degenerate Art” Campaign until January 25, 2026, following its great public success with over 100,000 visitors.

Lovis Corinth, Das Trojanische Pferd, 1924

Organized in collaboration with the Kupferstichkabinett and the Central Archive of the Staatliche Museen zu Berlin, the exhibition marks the 100th anniversary of Lovis Corinth’s death and explores the fate of the artist’s works — and those of his wife, Charlotte Berend-Corinth — within the Nationalgalerie’s collection.

“We are delighted by the enormous public interest in this exhibition,” stated Anette Hüsch, Director of the Alte Nationalgalerie. “The enthusiasm of our visitors shows how deeply the themes of art, loss, and memory still resonate today. With the extension, we want to give even more people the opportunity to engage with this important chapter of history.”

At the heart of the exhibition is a critical reflection on the provenance of artworks confiscated during the Nazi “Degenerate Art” campaign of 1937. Many of Corinth’s paintings were removed from the Nationalgalerie’s collection during that period — some later recovered, others lost or dispersed across museums and private collections worldwide.

The exhibition also includes works by Charlotte Berend-Corinth, who played a vital role in preserving her husband’s artistic legacy. Supplemented by archival documents, photographs, and reproductions, the exhibition traces the complex journeys of these artworks through history, revealing how issues of provenance continue to shape the museum’s collection today.

Lovis Corinth, Der geblendete Simson, 1912

Visitors can also explore Corinth’s extensive body of prints and drawings, many of which were part of the Kupferstichkabinett’s holdings since 1992. A bilingual catalogue — edited by Dieter Scholz with contributions from Sara Sophie Biever, Sven Haase, Andreas Schalhorn, Dieter Scholz, and Petra Winter — accompanies the exhibition.

The show is made possible by the Kuratorium of the Stiftung Preußischer Kulturbesitz, with additional support from the Lovis Corinth Gesellschaft e.V. and the Christa and Nikolaus Schües Art Foundation.

Charlotte Behrend-Corinth Schachspieler in Lovis Corinths Krankenzimmer in Amsterdam 1925,

With this extension, the Alte Nationalgalerie reaffirms its commitment to preserving historical memory and promoting critical engagement with Germany’s artistic and cultural heritage. The Lovis Corinth exhibition is not only a tribute to one of the masters of German Impressionism, but also a powerful reflection on the resilience of art in the face of loss and censorship.

Alte Nationalgalerie

Bodestraße 1, 10178 Berlin

Date 18 luglio - 25 gennaio 2026