{"id":14,"date":"2025-09-12T16:08:22","date_gmt":"2025-09-12T16:08:22","guid":{"rendered":"https:\/\/www.lab27.it\/?p=14"},"modified":"2025-11-24T16:01:30","modified_gmt":"2025-11-24T16:01:30","slug":"lamerica-tra-sogni-e-disincanti","status":"publish","type":"post","link":"https:\/\/www.lab27.it\/en\/lamerica-tra-sogni-e-disincanti\/","title":{"rendered":"America, Between Dreams and Disenchantment"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":18,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[3],"class_list":["post-14","post","type-post","status-publish","has-post-thumbnail","hentry","category-mostre","tag-mostra"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>America, Between Dreams and Disenchantment - LAB27<\/title>\n<meta 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beauty, and myth-making force that has fascinated him since childhood.<\/span><br \/><span>This is not a linear exhibition, but an elliptical vision, made up of counterpoints, echoes, and connections between past and present. A visual vocabulary built around concepts that for decades have fueled literature, cinema, and above all photography\u2014and which today seem to have reached a critical turning point.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 2,\r\n      \"col\": 2,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 7,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 3,\r\n      \"col\": 0,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 9,\r\n      \"attid\": 100,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1-1024x1466.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1-768x1099.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1-512x733.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1-265x379.jpg\"\r\n      },\r\n      \"w\": 1048,\r\n      \"h\": 1500,\r\n      \"ar\": 1.4312977099236641,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>The Pioneer Spirit. It begins with the journey into the unknown: the myth of the frontier, the wagon and the horse as archetypes of a founding epic. A diptych pairing Walker Evans (1933) and Geraci (2023), ninety years apart, reveals a surprising continuity of intent: a gaze towards the margins, a tension toward a truth hidden in the folds of the everyday, where a spirit of assertion and triumph resides. The aesthetic language changes, but the stance of the gaze remains.<\/span><br \/><span>The Promised Land. America as an original Eden: vast, open, to be conquered. A place of hope and ambition. The photographs of O\u2019Sullivan, Jackson, Curtis, and Weston span from 1874 to 1937, offering iconic visions of a nature encountered with a calculating, probing, documentary gaze. This is a prelude to the transformation in how the world would be perceived through the machine\u2014leading up to Geraci\u2019s 2021 photograph, in which a ribbon of asphalt winds like a snake through Utah\u2019s monumental landscape: a powerful image of the gradual erosion of that primal innocence.<\/span><br \/><span>The act of looking\u2014manipulating, cataloging, normalizing\u2014reappears in the serial, industrial approach of Joseph Dankowski, who systematizes vision and anticipates digital exegesis through the reproducibility of his manhole covers (1969\u20131971). Decades later, Geraci playfully echoes this with a vernacular shot in Saint Martinville.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 4,\r\n      \"col\": 2,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 2,\r\n      \"relid\": 31,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 5,\r\n      \"col\": 0,\r\n      \"colspan\": 4,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 11,\r\n      \"attid\": 23,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-1280x1024.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-1024x819.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-768x614.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-512x410.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-265x212.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1200,\r\n      \"ar\": 0.8,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      },\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>The Myth of Progress. From conquering the land to conquering asphalt: progress, as a salvific narrative, is questioned through images showing the alienating transformation of the landscape. Robert Frank\u2019s (1955) anonymous parking lots of postwar commercial settlements give way to Geraci\u2019s equally desolate tourist lot near Nevada\u2019s Hoover Dam (2016). Already in 1947, Esther Bubley took us aboard a Greyhound bus\u2014symbol of a coast-to-coast America\u2014where travel becomes transit in a geography already colonized by the gaze.<\/span><br \/><span>But there is another speed: that of those who do not take part in the race, or are excluded from it. The man in Elliott Erwitt\u2019s North Carolina photograph (1950) and the one Geraci captures in Louisiana (2018) could be the same: hat, white shirt. A temporal diptych balanced by Mydans\u2019s 1936 portrait of a couple in a stark rural Ohio interior. Once again, the provinces\u2014the same that Geraci traverses\u2014not by chance, but by choice: because here the heartbeat of deep America is most authentic and most overlooked.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 6,\r\n      \"col\": 2,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 2,\r\n      \"relid\": 29,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/Erwitt.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 7,\r\n      \"col\": 0,\r\n      \"colspan\": 4,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 13,\r\n      \"attid\": 96,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/Erwitt.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-1280x842.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-1024x674.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-768x505.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-512x337.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-265x174.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 987,\r\n      \"ar\": 0.658,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 8,\r\n      \"col\": 0,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 15,\r\n      \"attid\": 19,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030-1024x1280.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030-768x960.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030-512x640.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030-265x331.jpg\"\r\n      },\r\n      \"w\": 1200,\r\n      \"h\": 1500,\r\n      \"ar\": 1.25,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      },\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>When the Myth Becomes Symbol. In 1978, Joel Meyerowitz photographed a McDonald\u2019s sign next to the American flag: two superimposed icons marking the shift from collective dream to individual consumption. The dream has been co-opted by hamburger culture\u2014now brand, consumption, industry. Decades later, Geraci records its stubborn persistence: another McDonald\u2019s, in Yuma, Arizona, where the landscape has been bent to a functional, homogenizing grammar. Here, the figure of a father\u2014undressed in the half-light of a Tennessee motel room (2017)\u2014becomes a meditation on the human condition, much like the bare gaze of Kee, a boy reclining before Nan Goldin\u2019s lens (1988).<\/span><br \/><span>Television as a tool for shaping the masses and disseminating the myth\u2014once the queen of the living room and the collective imagination. Stephen Shore\u2019s TV (1975) is centered in the frame, dominating the scene. In Geraci\u2019s work, however, it\u2019s relegated to a vacant storefront in Mississippi (2017), tucked in a corner: switched off, forgotten, supplanted by the pocket-sized stream of social media. The intrusion of television as a prelude to the dematerialization of imagery under the panopticon of Big Tech.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 9,\r\n      \"col\": 2,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 2,\r\n      \"relid\": 33,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 10,\r\n      \"col\": 0,\r\n      \"colspan\": 4,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 17,\r\n      \"attid\": 105,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-1280x880.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-1024x704.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-768x528.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-512x352.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-265x182.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1031,\r\n      \"ar\": 0.6873333333333334,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030.jpg\",\r\n      \"align\": \"top\",\r\n      \"row\": 11,\r\n      \"col\": 0,\r\n      \"colspan\": 4,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 19,\r\n      \"attid\": 16,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-1280x1024.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-1024x819.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-768x614.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-512x410.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-265x212.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1200,\r\n      \"ar\": 0.8,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      },\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>For some, the American Dream is now a mirage\u2014or a source of protest. In Joe Deal\u2019s 1978 photo, the abstraction of a roadscape foreshadows contemporary chaos, a deranged cartography echoed in Geraci\u2019s overturned car in Nebraska (2018), stranded off-road. In 1975, Lee Friedlander wryly confines monumental America to a traffic circle\u2014an involutionary historical loop. Joel Sternfeld, in 1984, shows us the face of a blind man in Alaska\u2019s outposts, surrounded by a lush garden he cannot see\u2014anticipating the paradoxical mood of a West at sunset, edging into darkness. The gaze of a middle-aged man Geraci meets in Wyoming (2017) turns elsewhere\u2014away from the photographer, away from the photograph\u2014seizing, in its intensity, the blue of the skies.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 12,\r\n      \"col\": 2,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 2,\r\n      \"relid\": 35,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 13,\r\n      \"col\": 0,\r\n      \"colspan\": 4,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 21,\r\n      \"attid\": 18,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-1280x1024.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-1024x819.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-768x614.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-512x410.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-265x212.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1200,\r\n      \"ar\": 0.8,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>In 1965, Diane Arbus photographed a family at a nudist competition: the dawn of a body revolution. A body that would be legitimized, commodified for entertainment. Today, that body is spectacle, product, performance. Geraci\u2019s Texas cheerleaders (2018), dressed as cowboys and bathed in golden light, seem to stage a new choreography of desire and conformity. Between eros and marketing, the individual has become their own image.<\/span><br \/><span>Family and Home. Foundational symbols of the American bourgeois imagination. Dorothea Lange (1935) captures, in the midst of the Dust Bowl, a family along the highway: uprooted yet united in desperate togetherness\u2014tragically real. In 1972, Bill Owens takes us into suburban America, where the aspirations of the middle class find refuge and expression. And, in his own way, Geraci encounters a family and a home in Brady, Nebraska (2023), photographing them in the intimacy of Christmas decorating: a moment at once sacred and profane, reassuring and precarious\u2014a reminder that family stability is fragile, yet capable of withstanding unforeseen challenges.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 14,\r\n      \"col\": 2,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 2,\r\n      \"relid\": 37,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens.jpg\",\r\n      \"align\": \"middle\",\r\n      \"row\": 15,\r\n      \"col\": 0,\r\n      \"colspan\": 4,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 23,\r\n      \"attid\": 91,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-1280x985.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-1024x788.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-768x591.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-512x394.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-265x204.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1154,\r\n      \"ar\": 0.7693333333333333,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>Valerio Geraci\u2019s editorial project\u00a0<\/span><em>American Eden<\/em><span>\u00a0does not claim to offer an exhaustive reading of America, but rather opens a series of windows onto that powerful and contradictory dream that has made it a reference\u2014and a model\u2014in the West. Likewise, the exhibition\u00a0<\/span><em>America, Between Dreams and Disenchantment<\/em><span>\u00a0invites us to reflect on a dream that still concerns us as spectators of the American arc. It is not an epitaph, but perhaps a moment of critical hesitation. Geraci, together with his illustrious predecessors, urges us not to simplify, but instead to take to the road, to look closer, in an attempt to understand\u2014or at least to define the boundaries. To look as a choice, as a poetic and understanding act.<\/span><\/p>\",\r\n      \"align\": \"top\",\r\n      \"row\": 16,\r\n      \"col\": 2,\r\n      \"colspan\": 3,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 2,\r\n      \"relid\": 38,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_H1\\\">exhibition views<\/h1>\",\r\n      \"align\": \"middle\",\r\n      \"row\": 17,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 56,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"html_id\": \"Title_Section\"\r\n    },\r\n    {\r\n      \"type\": \"elementgrid\",\r\n      \"cont\": 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from<\/span><br \/>Dionisio Gavagnin Collection<\/p><p><span class=\\\"_Def_Grey\\\">Photographs by<\/span> <br \/>Valerio Geraci<br \/><br \/><span class=\\\"_Def_Grey\\\">Curated by<\/span><br \/><span>Steve Bisson e Dionisio Gavagnin<\/span><\/p><p><span><span class=\\\"_Def_Grey\\\">Orari<\/span><br \/><\/span><span>Sunday 4:30pm\u20137:30pm<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 2,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 6,\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>On Friday, September 19th at 9:00 PM, in Treviso, Lab27 will inaugurate its 2025\/2026 exhibition program with\u00a0<\/span><em>America, Between Dreams and Disenchantment<\/em><span>, a show that questions what America still represents today for the Western imagination\u2014an imagination that continues to chase its evolutions, myths, and drifting trajectories.<\/span><br \/><span>The exhibition weaves together historical perspectives from the Dionisio Gavagnin Collection\u2014an archive preserving icons of 20th-century American photography\u2014with more contemporary visions from\u00a0<\/span><em>American Eden<\/em><span>\u00a0by Valerio Geraci, who, since 2016, has been driving across the United States in search of the essence, contradictions, rugged beauty, and myth-making force that has fascinated him since childhood.<\/span><br \/><span>This is not a linear exhibition, but an elliptical vision, made up of counterpoints, echoes, and connections between past and present. A visual vocabulary built around concepts that for decades have fueled literature, cinema, and above all photography\u2014and which today seem to have reached a critical turning point.<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 3,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 7,\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 4,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 9,\r\n      \"attid\": 100,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1-1024x1466.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1-768x1099.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1-512x733.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/Jackson1.1-265x379.jpg\"\r\n      },\r\n      \"w\": 1048,\r\n      \"h\": 1500,\r\n      \"ar\": 1.4312977099236641,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>The Pioneer Spirit. It begins with the journey into the unknown: the myth of the frontier, the wagon and the horse as archetypes of a founding epic. A diptych pairing Walker Evans (1933) and Geraci (2023), ninety years apart, reveals a surprising continuity of intent: a gaze towards the margins, a tension toward a truth hidden in the folds of the everyday, where a spirit of assertion and triumph resides. The aesthetic language changes, but the stance of the gaze remains.<\/span><br \/><span>The Promised Land. America as an original Eden: vast, open, to be conquered. A place of hope and ambition. The photographs of O\u2019Sullivan, Jackson, Curtis, and Weston span from 1874 to 1937, offering iconic visions of a nature encountered with a calculating, probing, documentary gaze. This is a prelude to the transformation in how the world would be perceived through the machine\u2014leading up to Geraci\u2019s 2021 photograph, in which a ribbon of asphalt winds like a snake through Utah\u2019s monumental landscape: a powerful image of the gradual erosion of that primal innocence.<\/span><br \/><span>The act of looking\u2014manipulating, cataloging, normalizing\u2014reappears in the serial, industrial approach of Joseph Dankowski, who systematizes vision and anticipates digital exegesis through the reproducibility of his manhole covers (1969\u20131971). Decades later, Geraci playfully echoes this with a vernacular shot in Saint Martinville.<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 5,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 31,\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 6,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 11,\r\n      \"attid\": 23,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-1280x1024.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-1024x819.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-768x614.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-512x410.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/VG-20211124-0002-positive_usm2030-265x212.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1200,\r\n      \"ar\": 0.8,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      },\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>The Myth of Progress. From conquering the land to conquering asphalt: progress, as a salvific narrative, is questioned through images showing the alienating transformation of the landscape. Robert Frank\u2019s (1955) anonymous parking lots of postwar commercial settlements give way to Geraci\u2019s equally desolate tourist lot near Nevada\u2019s Hoover Dam (2016). Already in 1947, Esther Bubley took us aboard a Greyhound bus\u2014symbol of a coast-to-coast America\u2014where travel becomes transit in a geography already colonized by the gaze.<\/span><br \/><span>But there is another speed: that of those who do not take part in the race, or are excluded from it. The man in Elliott Erwitt\u2019s North Carolina photograph (1950) and the one Geraci captures in Louisiana (2018) could be the same: hat, white shirt. A temporal diptych balanced by Mydans\u2019s 1936 portrait of a couple in a stark rural Ohio interior. Once again, the provinces\u2014the same that Geraci traverses\u2014not by chance, but by choice: because here the heartbeat of deep America is most authentic and most overlooked.<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 7,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 29,\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/Erwitt.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 8,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 13,\r\n      \"attid\": 96,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/Erwitt.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-1280x842.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-1024x674.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-768x505.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-512x337.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/Erwitt-265x174.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 987,\r\n      \"ar\": 0.658,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 9,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 15,\r\n      \"attid\": 19,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030-1024x1280.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030-768x960.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030-512x640.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/VG-20181015-0023_usm2030-265x331.jpg\"\r\n      },\r\n      \"w\": 1200,\r\n      \"h\": 1500,\r\n      \"ar\": 1.25,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      },\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>When the Myth Becomes Symbol. In 1978, Joel Meyerowitz photographed a McDonald\u2019s sign next to the American flag: two superimposed icons marking the shift from collective dream to individual consumption. The dream has been co-opted by hamburger culture\u2014now brand, consumption, industry. Decades later, Geraci records its stubborn persistence: another McDonald\u2019s, in Yuma, Arizona, where the landscape has been bent to a functional, homogenizing grammar. Here, the figure of a father\u2014undressed in the half-light of a Tennessee motel room (2017)\u2014becomes a meditation on the human condition, much like the bare gaze of Kee, a boy reclining before Nan Goldin\u2019s lens (1988).<\/span><br \/><span>Television as a tool for shaping the masses and disseminating the myth\u2014once the queen of the living room and the collective imagination. Stephen Shore\u2019s TV (1975) is centered in the frame, dominating the scene. In Geraci\u2019s work, however, it\u2019s relegated to a vacant storefront in Mississippi (2017), tucked in a corner: switched off, forgotten, supplanted by the pocket-sized stream of social media. The intrusion of television as a prelude to the dematerialization of imagery under the panopticon of Big Tech.<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 10,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 33,\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 11,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 17,\r\n      \"attid\": 105,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-1280x880.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-1024x704.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-768x528.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-512x352.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/Nan-Goldin-265x182.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1031,\r\n      \"ar\": 0.6873333333333334,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 12,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 19,\r\n      \"attid\": 16,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-1280x1024.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-1024x819.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-768x614.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-512x410.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/VG-20170721-0013_usm2030-265x212.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1200,\r\n      \"ar\": 0.8,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      },\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>For some, the American Dream is now a mirage\u2014or a source of protest. In Joe Deal\u2019s 1978 photo, the abstraction of a roadscape foreshadows contemporary chaos, a deranged cartography echoed in Geraci\u2019s overturned car in Nebraska (2018), stranded off-road. In 1975, Lee Friedlander wryly confines monumental America to a traffic circle\u2014an involutionary historical loop. Joel Sternfeld, in 1984, shows us the face of a blind man in Alaska\u2019s outposts, surrounded by a lush garden he cannot see\u2014anticipating the paradoxical mood of a West at sunset, edging into darkness. The gaze of a middle-aged man Geraci meets in Wyoming (2017) turns elsewhere\u2014away from the photographer, away from the photograph\u2014seizing, in its intensity, the blue of the skies.<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 13,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 35,\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 14,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 21,\r\n      \"attid\": 18,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-1280x1024.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-1024x819.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-768x614.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-512x410.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/VG-20180323-0022_usm2030-265x212.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1200,\r\n      \"ar\": 0.8,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>In 1965, Diane Arbus photographed a family at a nudist competition: the dawn of a body revolution. A body that would be legitimized, commodified for entertainment. Today, that body is spectacle, product, performance. Geraci\u2019s Texas cheerleaders (2018), dressed as cowboys and bathed in golden light, seem to stage a new choreography of desire and conformity. Between eros and marketing, the individual has become their own image.<\/span><br \/><span>Family and Home. Foundational symbols of the American bourgeois imagination. Dorothea Lange (1935) captures, in the midst of the Dust Bowl, a family along the highway: uprooted yet united in desperate togetherness\u2014tragically real. In 1972, Bill Owens takes us into suburban America, where the aspirations of the middle class find refuge and expression. And, in his own way, Geraci encounters a family and a home in Brady, Nebraska (2023), photographing them in the intimacy of Christmas decorating: a moment at once sacred and profane, reassuring and precarious\u2014a reminder that family stability is fragile, yet capable of withstanding unforeseen challenges.<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 15,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 37,\r\n      \"absolute_position\": false,\r\n      \"textAnimation\": {\r\n        \"enableTextAnimation\": false\r\n      }\r\n    },\r\n    {\r\n      \"type\": \"img\",\r\n      \"cont\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens.jpg\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 16,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 23,\r\n      \"attid\": 91,\r\n      \"sizes\": {\r\n        \"full\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens.jpg\",\r\n        \"_1280\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-1280x985.jpg\",\r\n        \"_1024\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-1024x788.jpg\",\r\n        \"_768\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-768x591.jpg\",\r\n        \"_512\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-512x394.jpg\",\r\n        \"_265\": \"\/wp-content\/uploads\/2025\/09\/Bill-Owens-265x204.jpg\"\r\n      },\r\n      \"w\": 1500,\r\n      \"h\": 1154,\r\n      \"ar\": 0.7693333333333333,\r\n      \"alt\": \"\",\r\n      \"absolute_position\": false,\r\n      \"caption\": \"\"\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<p><span>Valerio Geraci\u2019s editorial project\u00a0<\/span><em>American Eden<\/em><span>\u00a0does not claim to offer an exhaustive reading of America, but rather opens a series of windows onto that powerful and contradictory dream that has made it a reference\u2014and a model\u2014in the West. Likewise, the exhibition\u00a0<\/span><em>America, Between Dreams and Disenchantment<\/em><span>\u00a0invites us to reflect on a dream that still concerns us as spectators of the American arc. It is not an epitaph, but perhaps a moment of critical hesitation. Geraci, together with his illustrious predecessors, urges us not to simplify, but instead to take to the road, to look closer, in an attempt to understand\u2014or at least to define the boundaries. To look as a choice, as a poetic and understanding act.<\/span><\/p>\",\r\n      \"align\": \"bottom\",\r\n      \"row\": 17,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 38,\r\n      \"absolute_position\": false\r\n    },\r\n    {\r\n      \"type\": \"text\",\r\n      \"cont\": \"<h1 class=\\\"_H1\\\">exhibition views<\/h1>\",\r\n      \"align\": \"middle\",\r\n      \"row\": 18,\r\n      \"col\": 0,\r\n      \"colspan\": 6,\r\n      \"offsetx\": 0,\r\n      \"offsety\": 0,\r\n      \"spaceabove\": 0,\r\n      \"spacebelow\": 0,\r\n      \"yvel\": 1,\r\n      \"push\": 0,\r\n      \"relid\": 56,\r\n      \"absolute_position\": false,\r\n      \"frameOverflow\": \"\",\r\n      \"html_id\": \"Title_Section\"\r\n    },\r\n    {\r\n      \"type\": \"elementgrid\",\r\n      \"cont\": \"\",\r\n      \"align\": 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