L’INCANTO

Opening saturday 4 june 6.30PM

5 june- 18 june 2026

curated by Niccolò Giacomazzi

L'Ignoto Sconosciuto Altrove, John Cascone, Veronica Cruciani, still da video, 2026 artists courtesy

Project promoted by the Department of Culture of Rome Capital, Azienda Speciale Palaexpo, and Fondazione Mattatoio – Città delle Arti.

From Friday, June 5, 2026, the spaces of Teatro 1 – La Pelanda at the Mattatoio in Rome will host L’Incanto, an exhibition project by John Cascone and Veronica Cruciani, curated by Niccolò Giacomazzi. The exhibition is conceived as an immersive experience in which environmental installation and video come together to create a single perceptual field. L’Incanto will be open to the public until June 18, 2026.

At the core of the exhibition lies the idea of enchantment, understood not simply as an aesthetic emotion, but as a perceptual and cognitive event: the moment when reality reveals a possibility that language has not yet organized. The exhibition unfolds through the environmental installation Il Respiro (The Breath) and the video work L’Ignoto Sconosciuto Altrove (The Unknown Unknown Elsewhere). Through Il Respiro, Teatro 1 is transformed into a traversable environment composed of trees, lights, sounds, and camping tents, evoking the atmosphere of an undergrowth forest and inviting visitors to engage with a different intensity of perception. Within this landscape, the projection of L’Ignoto Sconosciuto Altrove takes shape, structured in four chapters and emerging from a long research process developed across diverse urban and natural contexts.

L'Ignoto Sconosciuto Altrove, John Cascone, Veronica Cruciani, still da video, 2026 artists courtesy

L’Incanto does not follow a linear narrative logic; rather, it establishes a continuous relationship between the experience of space and the moving image. The environmental installation is not merely a backdrop, but guides visitors into a dimension of heightened attention and listening; the video, in turn, reorganizes and reactivates this experience. In this way, L’Incanto creates an ongoing interplay between perception, memory, and imagination, never settling into a single, fixed meaning. Within this process, nature assumes a decisive role—a presence capable of disorienting and expanding the field of experience. It is precisely within this suspension that it becomes possible to imagine other forms of relationship with the living world, and other ways of seeing and inhabiting it.

Born from four years of workshops, dialogues, and site-specific practices, the project brings together a shared investigation into the limits of the imaginable and the conditions of vision. Through the collaboration between John Cascone and Veronica Cruciani, L’Incanto takes shape as a unified device in which space, sound, image, and language intertwine to create an experience that does not simply represent the unknown, but makes it perceptible.

Throughout the exhibition period, the video will be screened daily at three scheduled times: 4:30 PM, 5:30 PM, and 6:30 PM. On the occasion of the exhibition’s finissage, on June 18, 2026, the exhibition catalogue—designed by DITO Studio—will also be presented as a further editorial reflection on the research and journey developed through L’Incanto.

John Cascone is a visual and sound artist working across performance, video, installation, and participatory practices. His research explores the relationships between space, fiction, and language. His projects have been presented at institutions including the MAXXI, Palazzo Esposizioni, Galleria Nazionale d’Arte Moderna e Contemporanea, Auditorium Parco della Musica, the Segal Center, and Kauno Paveikslų Galerija. As a sound dramaturg, he has collaborated on numerous productions directed by Veronica Cruciani, including Accabadora (based on the novel by Michela Murgia), The Maids (Le Serve), and Twelfth Night by William Shakespeare.

Veronica Cruciani is a theatre director active in some of Italy’s leading theatrical institutions, including Teatro di Roma, Emilia Romagna Teatro Fondazione, Teatro di Napoli, Teatro Nazionale di Genova, and Teatro Stabile del Veneto. From 2016 to 2019, she served as Artistic Director of Teatro Biblioteca Quarticciolo. In subsequent years, she received both the Premio Hystrio alla Regia and the Premio della Critica ANCT. Her work moves between dramatic theatre and contemporary research, developing an authorial approach that reinterprets classical texts while embracing contemporary dramaturgy as a tool for investigating the present. Since 2015, she has collaborated with visual and sound artist John Cascone on a range of performative and installation-based projects.

Information

L’INCANTO

John Cascone and Veronica Cruciani

curated by Niccolò Giacomazzi

June 5–18, 2026

Mattatoio di Roma, Teatro 1 – La Pelanda

Piazza Orazio Giustiniani 4 – Rome

Free admission

Opening hours: Tuesday to Sunday, 4:30 PM – 7:30 PMClosed on Mondays

Video screening: three daily activations at 4:30 PM, 5:30 PM, and 6:30 PM.

Julio Le Parc

11 june- 3 may 2027

curated by Valentine Ravaglia

Julio Le Parc, Blue Sphere 2013. Tate. Lent by the Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee 2023. © ADAGP, Paris and DACS, London 2025. Photo © Museum of Art Pudong

This summer, Tate Modern will stage an exhibition dedicated to the visionary work of Julio Le Parc (b. 1928). Organised in close collaboration with the artist and his Atelier, the exhibition will feature over 60 works spanning Le Parc’s extraordinary 70-year career, including interactive installations, striking light sculptures, and geometric abstract paintings. Arranged in a winding, maze-like manner, the exhibition will follow Le Parc’s career-long mission to activate the viewer, using optical effects, sensory experiences and physical interactions to make audiences aware of the role they can play in bringing art to life.

Born in Argentina, and studying at the Escuela de Bellas Artes in Buenos Aires, Le Parc moved to France in 1958 and joined the vibrant Parisian creative scene of the 1960s. The exhibition will open with the artist’s Surfaces series, early black and white gouache studies and paintings, created after his move to Paris in the late 1950s. These modular paintings use repeated geometric shapes and mathematical principles to create optical illusions, with as the patterns appearing to shift, rotate or flicker before the viewers’ eyes, as in Instability 1959 and Progressive Sequences 1959. Le Parc also experimented with the retinal afterimage, where high-contrast motifs leave a negative impression on the retina for long enough to be visible against a blank background, prompting the viewer to ‘complete’ the artwork with their eye movements.

Julio Le Parc, Instability 1959–1991. Lent by the Atelier Le Parc 2026 © ADAGP, Paris and DACS, London 2025

Visitors will have the chance to engage with Le Parc’s well known innovative luminokinetic artworks. Initially emerging in 1959 as a series of Light Boxes - sculptures containing sheets of transparent acrylic plastic and light sources to create mesmerising sequences – these installations quickly evolved into Le Parc’s key body of work, the Continual Light Mobiles, debuted in 1960. Spotlights in combination with reflective or transparent moving elements create dynamic kaleidoscopic visuals which transform in front of the spectator. Continuous Light Mobile 1963 features suspended elements which move in response to the air flows generated by the viewers’ movements, further emphasising the importance of the audience in Le Parc’s practice. Light distortion effects are also explored in Unique Continual Light Cylinder 1962 as well as the room-sized installation Vibrating Light – Tulles 1968.

Other works invite deeper physical participation. 64 Reflective Blades 2017 encourages viewers to move between a painting and a screen with a row of reflective stainless-steel strips, fragmenting and distorting their reflection while making them part of the artwork itself. The exhibition will also display Le Parc’s Game Room installations such as Ensemble of Eleven Surprise Movements 1965, and Pattern to Manipulate 1967, which ask viewers to directly engage with artworks by pressing buttons, rotating elements and other acts of physical play.

The exhibition will conclude with Le Parc’s continued explorations of colour, ranging from his latest paintings to his earliest experiments. Much of Le Parc’s work utilises a signature palette of 14 hues, first developed in 1959 in works such as the Colour Project, a series of small gouaches in which Le Parc extrapolates every possible colour variation of his palette. Le Parc has continued to experiment with colour as well as black-and-white patterns throughout his career, notably in his iconic wave motif paintings such as Waves 125 Series 3 n°1 1972, and his later Modulations and Alchemies series. The striking Blue Sphere 2001-22, acquired by Tate in 2024, also demonstrates how Le Parc's recent sculptural work revisits and expands his earlier mobiles and kaleidoscopic light installations.

Informations Julio Le Parc 11 June 2026 – 3 May 2027

Tate Modern, Bankside, SW1P 4RG

Open daily 10.00–18.00, and until 21:00 every Friday and Saturday.

Lori Lako. Rememory in Pistoia

Opening: Sunday 31 May, 11:00 am – 8:00 pm

31 May – 31 July 2026

text by Stefania Rispoli

Installation view LoriLako, Nationalism, you wild beast

From 31 May to 31 July 2026, the ME Vannucci gallery in Pistoia will host ‘Rememory’, a solo exhibition by the artist Lori Lako (Pogradec, Albania, 1991), which explores the complex layers of contemporary power, moving between technological archaeology and the manipulation of symbols of national identity. The exhibition is accompanied by a text by Stefania Rispoli.

The heart of the exhibition lies in a series of hand-woven kilims, where the icons of nationalism drawn from various flags merge into fantastical chimeras, challenging the rigidity of symbols. Through an installation of damaged smartphone screens revealing Cold War satellite secrets, the artist draws a parallel between the orbital surveillance of yesterday and the digital self-exposure of today.

The exploration continues in the AI-generated video, which brings to life an Italian family’s journey through the ideological Albania of 1978—a political pilgrimage navigating propaganda and private life, made possible only by membership of the Communist Party.

In the graphic series on display, cyanotype shifts towards sepia to recount the betrayed promises of the Y2K utopia (Year 2000, a school of thought embodying the epochal transition to the digital age, torn between technological euphoria for the new millennium and apocalyptic anxiety), whilst anastatic prints ‘strip’ propaganda fabrics of their softness. Transforming military garments into artefacts ca

Rememory exposes the fragility of dominant narratives, dissolving fixed identities into the weave of fabric and the shattered glass of technology.

‘Rememory’ is a neologism coined by the African-American writer Toni Morrison (Lorain, 18 February 1931 – New York, 5 August 2019) in her masterpiece *Beloved*, a novel that won the Pulitzer Prize in 1988. More than just a memory, the term describes the idea that the past does not fade away but continues to float in space.

“I was talking about time. It’s so hard for me to believe it. Some things pass, they go away. Others, however, remain. I used to think it was my rememory. You know, some things you forget, others you never forget. But that’s not how it is. Places, places are still there. If a house burns down, it’s gone, but the place — the image of it — remains, and not just in my rememory, but out there, in the world.”

Lori Lako (Pogradec, Albania, 1991). She studied Painting and New Expressive Languages at the Academy of Fine Arts in Florence and Munich. She lives and works between Italy and Albania. Her practice explores themes of memory, the construction of identity and the power of images, through videos, installations and multimedia works that combine archival materials, digital reconstructions and personal narrative.

Notable solo exhibitions include: È da un po' che non sogno di volare, a solo exhibition curated by Ilaria Mariotti, Villa Pacchiani Exhibition Centre, Santa Croce sull'Arno, 2024 (IT); Ich höre einen Vogel Klagen, I hear a bird lament, a project in collaboration with the Austrian Academy of Sciences, Lichtungen Magazine & Rotor Center for Contemporary Art, Landesbibliothek, Graz, 2024 (AT); Scripta Festival, a project by Pietro Gaglianò, Brac Library, Florence, 2023 (IT); Going Nowhere Slow, curated by Darko Vukic, Bazement Art Space, Tirana, 2023 (AL); Assuming we can reach the sky, Residency Unlimited, New York, 2022 (USA); Made in Italy, OFF, a project curated by Sergio Risaliti, Museo Novecento, Florence, 2020 (IT); Still Life, a two-person exhibition with Adrian Paci, curated by Alessandra Poggianti, Terzopiano Arte Contemporanea, Lucca, 2019 (IT); Lontano da dove, (Lesfull) with Arber Elezi, a project by Pier Luigi Tazzi, Fondazione Lanfranco Baldi, Pelago, 2013 (IT).

He has participated in group exhibitions in public and private venues in Italy