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spazioSERRA is an exhibition site located in Lancetti railway station in Milan. The heterotopic position and the particular glass architecture allow the constant fruition of the works, generally site- specific. For the previous season, spazioSERRA selected six artists to create solo exhibitions focusing on the topic of Horror Vacui. For the next exhibition season, spazioSERRA announces a theme inspired by the nature of the place: by the permanence of the unstable, by the ability to give life to the finished work of art and to change its features, to transform the shape and create an exhibition in progress. The new series of exhibitions of spazioSERRA will be entitled venerazioneMUTANTE (mutant veneration).

The mutation within our DNA has allowed us to evolve from single-celled organisms into the dominant species, but this process lasts millennia and man will never be able to see his changed form: this is where art comes into play, to perpetrate images and stories over time so that his traces are not lost. However, with the advent of new structures related to contemporary art, it has no longer fulfilled this principle, but rather has given devotion and image to things and objects, making it become an “expanded art”. The fetishism of the objects that make up the works has become, in turn, a cult, a veneration, capable of giving even more value to the artwork itself. spazioSERRA wants to bring to the light of artistic veneration not a work, but its mutation. Creating a work that changes over the course of its existence means going against the idea of stasis and permanence, against the idea of conservation and restoration, against the idea of image and icon. It is an ongoing process that is often not decided a priori, but whose final form depends on chance. The intent is to create a continuous and always different vision, which day after day is created and recreated, in a perspective of mutation linked to the different technologies of artistic methodologies.

From paper to wax, from body to sleep, in the last hundred years the artists have created works in constant mutation: in 1919 Marcel Duchamp made the Unhappy Readymade, a book hanging on the balcony peeled and destroyed by the wind; Kurt Schwitters began the Merzbau in 1923, an artwork of environmental dimensions including every kind of material, such as sheets, animals, objects and plaster, which never ended; in 1960 Jean Tinguely designed the self-destructing machine, changing again the concept of object in the art; in the sixties Dieter Roth worked with perishable materials, mostly food grade, to rot and putrefy the work; in the seventies, Orlan began a series of facial transformations that would lead her to have a constantly changing social aspect; in 1991 Félix González-Torres invited viewers to take the candies that he accumulated in an amount equal to the weight of his AIDS-affected partner Ross; in the nineties Janine Antoni worked on Slumber, a machine for weaving a blanket based on eye movements during her REM phase; since the 2000s Urs Fischer has been making wax sculptures that melt from the inside, dispersing their original shape; and many more. These artists make art temporary and without fixed representations, dynamic and fluid.

If change is the only certainty of science, art will necessarily have to demonstrate it.