{"id":791,"date":"2026-09-01T17:25:42","date_gmt":"2026-09-01T17:25:42","guid":{"rendered":"https:\/\/www.lab27.it\/perle-delleditoria-fotografica-da-talbot-a-camera-work-copy\/"},"modified":"2026-09-01T17:54:40","modified_gmt":"2026-09-01T17:54:40","slug":"vedere-parole-tra-scrittura-e-immagine","status":"publish","type":"post","link":"https:\/\/www.lab27.it\/en\/vedere-parole-tra-scrittura-e-immagine\/","title":{"rendered":"Seeing Words. Between Writing and Image"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":806,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[18,1],"tags":[3],"class_list":["post-791","post","type-post","status-publish","has-post-thumbnail","hentry","category-home","category-mostre","tag-mostra"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Seeing Words. 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Between Writing and Image<\/h1><h1 class=\\\"_H1\\\"><span class=\\\"_H1_Grey\\\">25.9 \\u2013 22.11.2026<\/span><\/h1>\",\"align\":\"middle\",\"row\":0,\"col\":0,\"colspan\":5,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":4,\"absolute_position\":false,\"frameOverflow\":\"\"},{\"type\":\"text\",\"cont\":\"<p><span class=\\\"_Def_Grey\\\">Selected works from the<\/span><br \/>Dionisio Gavagnin Collection<\/p><p><span class=\\\"_Def_Grey\\\">Artworks by<\/span><br \/>Jeffrey Wolin<br \/>Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda<br \/>Cristina Comparato<\/p><p><span class=\\\"_Def_Grey\\\">Curated by<\/span><br \/>Steve Bisson e Dionisio Gavagnin<\/p><p><span class=\\\"_Def_Grey\\\">Opening Hours<\/span><br \/>Sunday, 4:30\\u20137:30 PM<\/p>\",\"align\":\"top\",\"row\":1,\"col\":0,\"colspan\":2,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":6,\"absolute_position\":false},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>Lab27 inaugurates its new 2026\\u201327 programme with the exhibition <\/span><i>Seeing Words. Between Writing and Image<\/i><span>, opening on September 25 at 9 p.m., curated by Steve Bisson and Dionisio Gavagnin. Bringing together a selection of unique works of Visual Poetry from the collection of Dionisio Gavagnin with more recent works by Jeffrey Wolin, Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda, and Cristina Comparato, the exhibition explores the shifting relationship between word and image, examining the ways in which this relationship contributes to constructing, directing, and questioning our perception of reality. Spanning a period of 60 years, the exhibition reflects on the power of images in contemporary society and on the mechanisms that determine how they are read\\u2014from mass communication to advertising, from memory to the representation of violence, and ultimately to the current proliferation of digital images.<\/span><\/div>\",\"align\":\"top\",\"row\":1,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":7,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/COVER.jpg\",\"align\":\"top\",\"row\":2,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":57,\"attid\":806,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/COVER.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/COVER-1280x999.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/COVER-1024x799.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/COVER-768x600.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/COVER-512x400.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/COVER-265x207.jpg\"},\"w\":1500,\"h\":1171,\"ar\":0.7806666666666666198892698957934044301509857177734375,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Eugenio Miccini, \\\"L\\u2019ombra\\u00a0del dubbio\\\", 1969<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni.jpg\",\"align\":\"top\",\"row\":3,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":9,\"attid\":792,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-1280x1330.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-1024x1064.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-768x798.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-512x532.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-265x275.jpg\"},\"w\":1444,\"h\":1500,\"ar\":1.0387811634349031209012537146918475627899169921875,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Libera Mazzoleni, \\\"Mi avete cercato?\\\", 1977<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>Visual Poetry questioned language and the social role of the image during the second half of the twentieth century. By freeing the word from the linearity of the page and the image from its presumed neutrality, artists developed strategies capable of exposing the mechanisms through which communication produces consensus, desire, and value. It is no coincidence that this investigation also encompassed art, advertising, and the increasing transformation of the image into a commodity: to challenge language also meant challenging the systems that use language to define, classify, and sell reality. In this sense, many experiments in Visual Poetry anticipated a condition that is now familiar to us: the blending of verbal, photographic, graphic, and optical elements that characterises the internet and the digital ecosystem. Long before the web made this contamination commonplace, Visual Poetry had already understood that an image is more than what it shows, just as a word is more than what it says.<\/span><\/div>\",\"align\":\"top\",\"row\":4,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":15,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti.jpg\",\"align\":\"top\",\"row\":5,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":17,\"attid\":793,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-1280x969.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-1024x775.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-768x581.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-512x387.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-265x201.jpg\"},\"w\":1500,\"h\":1135,\"ar\":0.75666666666666670959529028550605289638042449951171875,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Vincenzo Agnetti, \\\"Prospettiva. Free-hand Photograph, 1974<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><div><b>Writing Is Visual<\/b><\/div><div>In the first section, writing intervenes as a sign and signifier within the image. The section begins with Lamberto Pignotti\\u2019s admonition (1955\\u201360), written over the sixteenth-century painter Gian Girolamo Savoldo: \\u201cdon\\u2019t let yourself go.\\u201d Today, this exhortation appears almost uncannily relevant, in an age of the commodification of even our own image. His voice is echoed by Luca Patella\\u2019s <i>Mare firmato<\/i> [Signed Sea] (1965), which already suggests the desperate need to sign, possess, and make one\\u2019s presence in the world visible. That same year, Nanni Balestrini asks, \\u201cbut does war ever take place?\\u201d and demonstrates how art must also engage with the structures of language. Later, in 1972, Vincenzo Agnetti\\u2019s <i>Free-Hand Photography<\/i> series frees itself from the determinism of the camera, shifting attention from recording to the message. The concept becomes embodied in the image. At that point, detail can disappear or blur, as in Ketty La Rocca\\u2019s <i>Riduzioni<\/i> [Reductions] (1974), or be extended and reimagined, as in Cioni Carpi\\u2019s landscape <i>Sehs Pass <\/i>(1977).<\/div><\/div>\",\"align\":\"top\",\"row\":6,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":11,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/3_Patella.jpg\",\"align\":\"top\",\"row\":7,\"col\":0,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":20,\"attid\":794,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/3_Patella.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/3_Patella-1024x1468.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/3_Patella-768x1101.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/3_Patella-512x734.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/3_Patella-265x380.jpg\"},\"w\":1046,\"h\":1500,\"ar\":1.4340344168260037438500376083538867533206939697265625,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Luca Maria Patella, \\\"Mare Firmato\\\", 1965<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi.jpg\",\"align\":\"top\",\"row\":8,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":21,\"attid\":795,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-1280x1021.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-1024x816.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-768x612.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-512x408.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-265x211.jpg\"},\"w\":1500,\"h\":1196,\"ar\":0.79733333333333333836634437830070964992046356201171875,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Cioni Carpi, \\\"Sehs Pass\\\", 1977<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"},\"frameOverflow\":\"\"},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>The section concludes with a work by Franco Vaccari from the <\/span><i>Photomatic<\/i><span> series, in which the apparatus takes the place of the author. The individual gesture gives way to a procedure, a script, a system capable of producing images according to a logic that, in certain respects, anticipates the computational and algorithmic vision of contemporary language. The machine no longer merely records the message: it participates in its production. Contemporaneous with this, and equally symptomatic of the same impulse, is Michele Perfetti\\u2019s <\/span><i>Pretesto poetico<\/i><span> [Poetic Pretext] (1972).<\/span><\/div>\",\"align\":\"top\",\"row\":9,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":12,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari.jpg\",\"align\":\"top\",\"row\":10,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":13,\"attid\":796,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-1280x1058.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-1024x847.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-768x635.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-512x423.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-265x219.jpg\"},\"w\":1500,\"h\":1240,\"ar\":0.826666666666666660745477201999165117740631103515625,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Franco Vaccari, s.t., from the series \\\"Photomatic d'Italia\\\", 1973-74<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"},\"frameOverflow\":\"\"},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>Within this brief genealogy, from a different perspective, comes Cristina Comparato\\u2019s work from the volume <\/span><i>A proposito di casa<\/i><span> [About Home] (2026), in which words and images inform one another and seem to become equivalent, with neither prevailing over the other. Meaning remains suspended in a balance entrusted to the viewer or reader. It is as though the work returns the viewer to their own consciousness without imposing a single interpretation. \\u201cCasa siamo noi, abitiamoci con amore\\u201d [We are home; let us inhabit it with love] reads the cover of the volume on display.<\/span><\/div>\",\"align\":\"top\",\"row\":11,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":27,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato.jpg\",\"align\":\"top\",\"row\":12,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":23,\"attid\":797,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-1280x960.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-1024x768.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-768x576.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-512x384.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-265x199.jpg\"},\"w\":1500,\"h\":1125,\"ar\":0.75,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">The book \\\"A proposito di casa\\\" by Cristina Comparato, Penisola &amp; Antiga Edizioni, 2026<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"},\"frameOverflow\":\"\"},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><b>Tearing Images Apart<\/b><br \/><span>The second section is devoted to collage, one of the techniques through which the avant-garde movements first understood that an image could be deconstructed, removed from its context, and recomposed to produce a different meaning. Collage acts upon the very language of communication: it takes advertising, propaganda, and consumer imagery and interrupts, overlays, and manipulates it, returning it as critical material. It therefore does not simply represent the power of the media; it exposes the mechanisms through which that power operates\\u2014and its arrogance.<\/span><\/div>\",\"align\":\"top\",\"row\":13,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":25,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella.jpg\",\"align\":\"top\",\"row\":14,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":29,\"attid\":798,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-1280x736.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-1024x588.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-768x441.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-512x294.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-265x152.jpg\"},\"w\":1500,\"h\":862,\"ar\":0.5746666666666666589691203625989146530628204345703125,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Mimmo Rotella, \\\"Lecco. I luoghi manzoniani\\\", 1966<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>The section begins with Mimmo Rotella\\u2019s d\\u00e9collage (1966), precognitive in anticipating the need to distance ourselves from images in order to understand them, and continues with works by Maurice Lema\\u00eetre (1967) and Stelio Maria Martini (1987), who, twenty years apart, question the female body and its transformation into an object of consumption. The body, like the image, is a field of appropriation, montage, and manipulation. With Luigi Tola\\u2019s <\/span><i>Porte chiuse<\/i><span>[Closed Doors] (1967), Eugenio Miccini\\u2019s <\/span><i>L\\u2019ombra<\/i><i> del dubbio<\/i><span> [The Shadow of Doubt] (1969), and Luciano Ori\\u2019s <\/span><i>untitled Coca Cola<\/i><span> (1975), communication reveals its artificial and manipulative nature once removed from its original context. The word ceases to be subservient to the propagandistic and prescriptive ordering of the world and becomes a device through which to challenge it. It is as though these works open a crack in the apparently seamless landscape of the media, in the \\u201cmatrix\\u201d of representation.<\/span><\/div>\",\"align\":\"top\",\"row\":15,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":31,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori.jpg\",\"align\":\"top\",\"row\":16,\"col\":0,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":33,\"attid\":799,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori-1024x1434.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori-768x1076.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori-512x717.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori-265x371.jpg\"},\"w\":1071,\"h\":1500,\"ar\":1.400560224089635763533578938222490251064300537109375,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Luciano Ori, senza titolo \\\"Coca Cola\\\",1975<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>It is into this fissure that the work <\/span><i>The New Memorials <\/i><span>of Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda wedges itself. The artist takes up Rotella\\u2019s original lesson and revives the archaeology of the street in a now virtual, pixelated form. She does not tear down posters; she cuts directly into screens. Her collages construct a new American landscape of memory, composed not of historical monuments or iconic documentary photographs, but of fragments of visual fields belonging to sites of mass shootings in the United States. Her monuments, constructed from fragments of computational images torn from the apparent neutrality of Google Street View, rise up against the hypocrisy of an armed society that sows death in churches, schools, nightclubs, and grocery stores. Collage is not simply a technique, but a form of political montage of reality.<\/span><\/div>\",\"align\":\"top\",\"row\":17,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":38,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia.jpg\",\"align\":\"top\",\"row\":18,\"col\":0,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":39,\"attid\":800,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-1280x1280.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-1024x1024.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-768x768.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-512x512.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-265x265.jpg\"},\"w\":1500,\"h\":1500,\"ar\":1,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda, \\\"Colombine High School Massacre\\\" from the series \\\"The New Memorials\\\", 2023-2026<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia.jpg\",\"align\":\"top\",\"row\":19,\"col\":0,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":45,\"attid\":801,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-1280x1280.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-1024x1024.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-768x768.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-512x512.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-265x265.jpg\"},\"w\":1500,\"h\":1500,\"ar\":1,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda, \\\"Colombine High School Massacre\\\" from the series \\\"The New Memorials\\\", 2023-2026<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><b>Giving Images a Voice<\/b><br \/><span>The third section considers how words give voice to images and to their memory. In Allen Ginsberg\\u2019s seminal work (1987), a family memory connected to his life partner, Peter Orlovsky, transforms the photograph into a site of memory. Something similar occurs in the work of Jeffrey Wolin and, in particular, in the <\/span><i>Pigeon Hill<\/i><span> series, which seems to give a face to the collection <\/span><i>Fall of America: Poems of These States (1965\\u20131971)<\/i><span> by the Beat poet. Between 1987 and 1991, Wolin made more than 2,500 portraits of residents of the Crestmont housing projects in the western part of Bloomington, an area known as \\u201cPigeon Hill.\\u201d These were the years in which American political and media discourse persistently associated urban poverty, the crisis of the welfare state, crime, and the crack epidemic. Many years later, Wolin returned to the same people and places, photographing more than one hundred individuals once again. Some still lived on the Hill; others had moved away; others had died or were in prison.<\/span><\/div>\",\"align\":\"top\",\"row\":20,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":40,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg.jpg\",\"align\":\"top\",\"row\":21,\"col\":0,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":41,\"attid\":802,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg-1024x1240.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg-768x930.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg-512x620.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg-265x321.jpg\"},\"w\":1239,\"h\":1500,\"ar\":1.2106537530266343605234169444884173572063446044921875,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Allen Ginsberg, Peter Orlovosky...,\\u00a01987<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"},\"frameOverflow\":\"\"},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin.jpg\",\"align\":\"top\",\"row\":22,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":46,\"attid\":803,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-1280x1045.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-1024x836.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-768x627.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-512x418.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-265x216.jpg\"},\"w\":1500,\"h\":1225,\"ar\":0.8166666666666666518636930049979127943515777587890625,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Jeffrey Wolin,\\u00a0Kevin with Shotgun Wounds, Pigeon Hill, 1988<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"},\"frameOverflow\":\"\"},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg.jpg\",\"align\":\"top\",\"row\":23,\"col\":0,\"colspan\":4,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":47,\"attid\":804,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-1280x1047.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-1024x838.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-768x628.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-512x419.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-265x217.jpg\"},\"w\":1500,\"h\":1227,\"ar\":0.81799999999999994937383007709286175668239593505859375,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Jeffrey Wolin, Kevin is Healed, Pigeon Hill, 2013<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><b>Checkmate to Photography<\/b><br \/><span>Word and image must be read in relation to their own time. Perhaps this is precisely what art continues to tell us: something about the society we are, and at the same time about the way we choose to represent it. Visual Poetry has left us with a lesson that remains urgent today. We have become accustomed to producing images compulsively, consuming and replacing them before we have even truly looked at them. And perhaps we have become less willing to question the definitions, codes, and language of the images we share or encounter. The proliferation of images does not necessarily correspond to a greater ability to \\u201csee words.\\u201d<\/span><\/div>\",\"align\":\"top\",\"row\":24,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":49,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory.jpg\",\"align\":\"top\",\"row\":25,\"col\":0,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":51,\"attid\":805,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-1280x1451.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-1024x1161.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-768x871.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-512x580.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-265x300.jpg\"},\"w\":1323,\"h\":1500,\"ar\":1.1337868480725623587801464964286424219608306884765625,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Jean-Fran\\u00e7ois\\u00a0Bory, \\\"All Over\\\", 1972<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"},\"frameOverflow\":\"\"},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>This is why the word can once again become charged with meaning today. Not as a caption for the image, but as a tool for interrupting, contradicting, and slowing down the gaze. It is a matter of putting images in check. Perhaps this is where the dialogue between representatives of Visual Poetry and contemporary artists finds its raison d\\u2019\\u00eatre: not in a search for stylistic continuity, but in a shared need to challenge the instrumental use of images, and to give form to what ordinary language struggles to name.<\/span><\/div>\",\"align\":\"top\",\"row\":26,\"col\":2,\"colspan\":3,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":2,\"relid\":53,\"absolute_position\":false}]}","phonegrid":"{\"colCount\":6,\"colGutter\":10,\"rowGutters\":[40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40,40],\"frameMargin\":5,\"topFrameMargin\":64,\"rightFrameMargin\":10,\"bottomFrameMargin\":60,\"leftFrameMargin\":10,\"mus\":{\"colGutterMu\":\"px\",\"rowGutterMu\":\"px\",\"topFrameMu\":\"px\",\"bottomFrameMu\":\"px\",\"frameMu\":\"px\"},\"rowAttrs\":[{\"relid\":54},{\"relid\":55},{\"relid\":58},{\"relid\":59},{\"relid\":60},{\"relid\":61},{\"relid\":62},{\"relid\":63},{\"relid\":64},{\"relid\":65},{\"relid\":66},{\"relid\":67},{\"relid\":68},{\"relid\":69},{\"relid\":70},{\"relid\":71},{\"relid\":72},{\"relid\":73},{\"relid\":74},{\"relid\":75},{\"relid\":76},{\"relid\":77},{\"relid\":78},{\"relid\":79},{\"relid\":80},{\"relid\":81},{\"relid\":82},{\"relid\":83}],\"bgColor\":null,\"bgImage\":null,\"cont\":[{\"type\":\"text\",\"cont\":\"<h1 class=\\\"_H1\\\">Seeing Words. Between Writing and Image<\/h1><h1 class=\\\"_H1\\\"><span class=\\\"_H1_Grey\\\">25.9 \\u2013 22.11.2026<\/span><\/h1>\",\"align\":\"bottom\",\"row\":0,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":4,\"absolute_position\":false},{\"type\":\"text\",\"cont\":\"<p><span class=\\\"_Def_Grey\\\">Selected works from the<\/span><br \/>Dionisio Gavagnin Collection<\/p><p><span class=\\\"_Def_Grey\\\">Artworks by<\/span><br \/>Jeffrey Wolin<br \/>Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda<br \/>Cristina Comparato<\/p><p><span class=\\\"_Def_Grey\\\">Curated by<\/span><br \/>Steve Bisson e Dionisio Gavagnin<\/p><p><span class=\\\"_Def_Grey\\\">Opening Hours<\/span><br \/>Sunday, 4:30\\u20137:30 PM<\/p>\",\"align\":\"bottom\",\"row\":1,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":6,\"absolute_position\":false},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>Lab27 inaugurates its new 2026\\u201327 programme with the exhibition <\/span><i>Seeing Words. Between Writing and Image<\/i><span>, opening on September 25 at 9 p.m., curated by Steve Bisson and Dionisio Gavagnin. Bringing together a selection of unique works of Visual Poetry from the collection of Dionisio Gavagnin with more recent works by Jeffrey Wolin, Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda, and Cristina Comparato, the exhibition explores the shifting relationship between word and image, examining the ways in which this relationship contributes to constructing, directing, and questioning our perception of reality. Spanning a period of 60 years, the exhibition reflects on the power of images in contemporary society and on the mechanisms that determine how they are read\\u2014from mass communication to advertising, from memory to the representation of violence, and ultimately to the current proliferation of digital images.<\/span><\/div>\",\"align\":\"bottom\",\"row\":2,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":7,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/COVER.jpg\",\"align\":\"bottom\",\"row\":3,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":57,\"attid\":806,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/COVER.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/COVER-1280x999.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/COVER-1024x799.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/COVER-768x600.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/COVER-512x400.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/COVER-265x207.jpg\"},\"w\":1500,\"h\":1171,\"ar\":0.7806666666666666198892698957934044301509857177734375,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Eugenio Miccini, \\\"L\\u2019ombra\\u00a0del dubbio\\\", 1969<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni.jpg\",\"align\":\"bottom\",\"row\":4,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":9,\"attid\":792,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-1280x1330.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-1024x1064.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-768x798.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-512x532.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/1_Libera-Mazzoleni-265x275.jpg\"},\"w\":1444,\"h\":1500,\"ar\":1.0387811634349031209012537146918475627899169921875,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Libera Mazzoleni, \\\"Mi avete cercato?\\\", 1977<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>Visual Poetry questioned language and the social role of the image during the second half of the twentieth century. By freeing the word from the linearity of the page and the image from its presumed neutrality, artists developed strategies capable of exposing the mechanisms through which communication produces consensus, desire, and value. It is no coincidence that this investigation also encompassed art, advertising, and the increasing transformation of the image into a commodity: to challenge language also meant challenging the systems that use language to define, classify, and sell reality. In this sense, many experiments in Visual Poetry anticipated a condition that is now familiar to us: the blending of verbal, photographic, graphic, and optical elements that characterises the internet and the digital ecosystem. Long before the web made this contamination commonplace, Visual Poetry had already understood that an image is more than what it shows, just as a word is more than what it says.<\/span><\/div>\",\"align\":\"bottom\",\"row\":5,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":15,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti.jpg\",\"align\":\"bottom\",\"row\":6,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":17,\"attid\":793,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-1280x969.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-1024x775.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-768x581.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-512x387.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/2_Vincenzo-Agnetti-265x201.jpg\"},\"w\":1500,\"h\":1135,\"ar\":0.75666666666666670959529028550605289638042449951171875,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Vincenzo Agnetti, \\\"Prospettiva. Free-hand Photograph, 1974<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><div><b>Writing Is Visual<\/b><\/div><div>In the first section, writing intervenes as a sign and signifier within the image. The section begins with Lamberto Pignotti\\u2019s admonition (1955\\u201360), written over the sixteenth-century painter Gian Girolamo Savoldo: \\u201cdon\\u2019t let yourself go.\\u201d Today, this exhortation appears almost uncannily relevant, in an age of the commodification of even our own image. His voice is echoed by Luca Patella\\u2019s <i>Mare firmato<\/i> [Signed Sea] (1965), which already suggests the desperate need to sign, possess, and make one\\u2019s presence in the world visible. That same year, Nanni Balestrini asks, \\u201cbut does war ever take place?\\u201d and demonstrates how art must also engage with the structures of language. Later, in 1972, Vincenzo Agnetti\\u2019s <i>Free-Hand Photography<\/i> series frees itself from the determinism of the camera, shifting attention from recording to the message. The concept becomes embodied in the image. At that point, detail can disappear or blur, as in Ketty La Rocca\\u2019s <i>Riduzioni<\/i> [Reductions] (1974), or be extended and reimagined, as in Cioni Carpi\\u2019s landscape <i>Sehs Pass <\/i>(1977).<\/div><\/div>\",\"align\":\"bottom\",\"row\":7,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":11,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/3_Patella.jpg\",\"align\":\"bottom\",\"row\":8,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":20,\"attid\":794,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/3_Patella.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/3_Patella-1024x1468.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/3_Patella-768x1101.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/3_Patella-512x734.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/3_Patella-265x380.jpg\"},\"w\":1046,\"h\":1500,\"ar\":1.4340344168260037438500376083538867533206939697265625,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Luca Maria Patella, \\\"Mare Firmato\\\", 1965<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi.jpg\",\"align\":\"bottom\",\"row\":9,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":21,\"attid\":795,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-1280x1021.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-1024x816.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-768x612.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-512x408.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/4_Cioni-Carpi-265x211.jpg\"},\"w\":1500,\"h\":1196,\"ar\":0.79733333333333333836634437830070964992046356201171875,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Cioni Carpi, \\\"Sehs Pass\\\", 1977<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>The section concludes with a work by Franco Vaccari from the <\/span><i>Photomatic<\/i><span> series, in which the apparatus takes the place of the author. The individual gesture gives way to a procedure, a script, a system capable of producing images according to a logic that, in certain respects, anticipates the computational and algorithmic vision of contemporary language. The machine no longer merely records the message: it participates in its production. Contemporaneous with this, and equally symptomatic of the same impulse, is Michele Perfetti\\u2019s <\/span><i>Pretesto poetico<\/i><span> [Poetic Pretext] (1972).<\/span><\/div>\",\"align\":\"bottom\",\"row\":10,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":12,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari.jpg\",\"align\":\"bottom\",\"row\":11,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":13,\"attid\":796,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-1280x1058.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-1024x847.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-768x635.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-512x423.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/5_Franco-Vaccari-265x219.jpg\"},\"w\":1500,\"h\":1240,\"ar\":0.826666666666666660745477201999165117740631103515625,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Franco Vaccari, s.t., from the series \\\"Photomatic d'Italia\\\", 1973-74<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>Within this brief genealogy, from a different perspective, comes Cristina Comparato\\u2019s work from the volume <\/span><i>A proposito di casa<\/i><span> [About Home] (2026), in which words and images inform one another and seem to become equivalent, with neither prevailing over the other. Meaning remains suspended in a balance entrusted to the viewer or reader. It is as though the work returns the viewer to their own consciousness without imposing a single interpretation. \\u201cCasa siamo noi, abitiamoci con amore\\u201d [We are home; let us inhabit it with love] reads the cover of the volume on display.<\/span><\/div>\",\"align\":\"bottom\",\"row\":12,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":27,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato.jpg\",\"align\":\"bottom\",\"row\":13,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":23,\"attid\":797,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-1280x960.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-1024x768.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-768x576.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-512x384.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/6_Libro_Cristina-Comparato-265x199.jpg\"},\"w\":1500,\"h\":1125,\"ar\":0.75,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">The book \\\"A proposito di casa\\\" by Cristina Comparato, Penisola &amp; Antiga Edizioni, 2026<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><b>Tearing Images Apart<\/b><br \/><span>The second section is devoted to collage, one of the techniques through which the avant-garde movements first understood that an image could be deconstructed, removed from its context, and recomposed to produce a different meaning. Collage acts upon the very language of communication: it takes advertising, propaganda, and consumer imagery and interrupts, overlays, and manipulates it, returning it as critical material. It therefore does not simply represent the power of the media; it exposes the mechanisms through which that power operates\\u2014and its arrogance.<\/span><\/div>\",\"align\":\"bottom\",\"row\":14,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":25,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella.jpg\",\"align\":\"bottom\",\"row\":15,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":29,\"attid\":798,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-1280x736.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-1024x588.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-768x441.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-512x294.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/7_Mimmo-Rotella-265x152.jpg\"},\"w\":1500,\"h\":862,\"ar\":0.5746666666666666589691203625989146530628204345703125,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Mimmo Rotella, \\\"Lecco. I luoghi manzoniani\\\", 1966<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>The section begins with Mimmo Rotella\\u2019s d\\u00e9collage (1966), precognitive in anticipating the need to distance ourselves from images in order to understand them, and continues with works by Maurice Lema\\u00eetre (1967) and Stelio Maria Martini (1987), who, twenty years apart, question the female body and its transformation into an object of consumption. The body, like the image, is a field of appropriation, montage, and manipulation. With Luigi Tola\\u2019s <\/span><i>Porte chiuse<\/i><span>[Closed Doors] (1967), Eugenio Miccini\\u2019s <\/span><i>L\\u2019ombra<\/i><i> del dubbio<\/i><span> [The Shadow of Doubt] (1969), and Luciano Ori\\u2019s <\/span><i>untitled Coca Cola<\/i><span> (1975), communication reveals its artificial and manipulative nature once removed from its original context. The word ceases to be subservient to the propagandistic and prescriptive ordering of the world and becomes a device through which to challenge it. It is as though these works open a crack in the apparently seamless landscape of the media, in the \\u201cmatrix\\u201d of representation.<\/span><\/div>\",\"align\":\"bottom\",\"row\":16,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":31,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori.jpg\",\"align\":\"bottom\",\"row\":17,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":33,\"attid\":799,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori-1024x1434.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori-768x1076.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori-512x717.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/8_Luciano-Ori-265x371.jpg\"},\"w\":1071,\"h\":1500,\"ar\":1.400560224089635763533578938222490251064300537109375,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Luciano Ori, senza titolo \\\"Coca Cola\\\",1975<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>It is into this fissure that the work <\/span><i>The New Memorials <\/i><span>of Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda wedges itself. The artist takes up Rotella\\u2019s original lesson and revives the archaeology of the street in a now virtual, pixelated form. She does not tear down posters; she cuts directly into screens. Her collages construct a new American landscape of memory, composed not of historical monuments or iconic documentary photographs, but of fragments of visual fields belonging to sites of mass shootings in the United States. Her monuments, constructed from fragments of computational images torn from the apparent neutrality of Google Street View, rise up against the hypocrisy of an armed society that sows death in churches, schools, nightclubs, and grocery stores. Collage is not simply a technique, but a form of political montage of reality.<\/span><\/div>\",\"align\":\"bottom\",\"row\":18,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":38,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia.jpg\",\"align\":\"bottom\",\"row\":19,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":39,\"attid\":800,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-1280x1280.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-1024x1024.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-768x768.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-512x512.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/9A_Sofia-Fernandez-Garcia-265x265.jpg\"},\"w\":1500,\"h\":1500,\"ar\":1,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda, \\\"Colombine High School Massacre\\\" from the series \\\"The New Memorials\\\", 2023-2026<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia.jpg\",\"align\":\"bottom\",\"row\":20,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":45,\"attid\":801,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-1280x1280.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-1024x1024.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-768x768.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-512x512.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/9B_Sofia-Fernandez-Garcia-265x265.jpg\"},\"w\":1500,\"h\":1500,\"ar\":1,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Sof\\u00eda Fern\\u00e1ndez-Garc\\u00eda, \\\"Colombine High School Massacre\\\" from the series \\\"The New Memorials\\\", 2023-2026<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><b>Giving Images a Voice<\/b><br \/><span>The third section considers how words give voice to images and to their memory. In Allen Ginsberg\\u2019s seminal work (1987), a family memory connected to his life partner, Peter Orlovsky, transforms the photograph into a site of memory. Something similar occurs in the work of Jeffrey Wolin and, in particular, in the <\/span><i>Pigeon Hill<\/i><span> series, which seems to give a face to the collection <\/span><i>Fall of America: Poems of These States (1965\\u20131971)<\/i><span> by the Beat poet. Between 1987 and 1991, Wolin made more than 2,500 portraits of residents of the Crestmont housing projects in the western part of Bloomington, an area known as \\u201cPigeon Hill.\\u201d These were the years in which American political and media discourse persistently associated urban poverty, the crisis of the welfare state, crime, and the crack epidemic. Many years later, Wolin returned to the same people and places, photographing more than one hundred individuals once again. Some still lived on the Hill; others had moved away; others had died or were in prison.<\/span><\/div>\",\"align\":\"bottom\",\"row\":21,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":40,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg.jpg\",\"align\":\"bottom\",\"row\":22,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":41,\"attid\":802,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg-1024x1240.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg-768x930.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg-512x620.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/10_Allen-Ginsberg-265x321.jpg\"},\"w\":1239,\"h\":1500,\"ar\":1.2106537530266343605234169444884173572063446044921875,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\"><span>Allen Ginsberg, Peter Orlovosky...,\\u00a01987<\/span><\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin.jpg\",\"align\":\"bottom\",\"row\":23,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":46,\"attid\":803,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-1280x1045.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-1024x836.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-768x627.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-512x418.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/11A_Jeffrey-Wolin-265x216.jpg\"},\"w\":1500,\"h\":1225,\"ar\":0.8166666666666666518636930049979127943515777587890625,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Jeffrey Wolin,\\u00a0Kevin with Shotgun Wounds, Pigeon Hill, 1988<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg.jpg\",\"align\":\"bottom\",\"row\":24,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":47,\"attid\":804,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-1280x1047.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-1024x838.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-768x628.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-512x419.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/11B_Jeffrey-Wolin.jpg-265x217.jpg\"},\"w\":1500,\"h\":1227,\"ar\":0.81799999999999994937383007709286175668239593505859375,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Jeffrey Wolin, Kevin is Healed, Pigeon Hill, 2013<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><b>Checkmate to Photography<\/b><br \/><span>Word and image must be read in relation to their own time. Perhaps this is precisely what art continues to tell us: something about the society we are, and at the same time about the way we choose to represent it. Visual Poetry has left us with a lesson that remains urgent today. We have become accustomed to producing images compulsively, consuming and replacing them before we have even truly looked at them. And perhaps we have become less willing to question the definitions, codes, and language of the images we share or encounter. The proliferation of images does not necessarily correspond to a greater ability to \\u201csee words.\\u201d<\/span><\/div>\",\"align\":\"bottom\",\"row\":25,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":49,\"absolute_position\":false},{\"type\":\"img\",\"cont\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory.jpg\",\"align\":\"bottom\",\"row\":26,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":51,\"attid\":805,\"sizes\":{\"full\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory.jpg\",\"_1280\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-1280x1451.jpg\",\"_1024\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-1024x1161.jpg\",\"_768\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-768x871.jpg\",\"_512\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-512x580.jpg\",\"_265\":\"\/wp-content\/uploads\/2026\/09\/12_Jean-Francois-Bory-265x300.jpg\"},\"w\":1323,\"h\":1500,\"ar\":1.1337868480725623587801464964286424219608306884765625,\"alt\":\"\",\"absolute_position\":false,\"caption\":\"<p class=\\\"_Dida\\\">Jean-Fran\\u00e7ois\\u00a0Bory, \\\"All Over\\\", 1972<\/p>\",\"textOnElement\":{\"enabled\":false,\"topLeft\":\"\",\"topCenter\":\"\",\"topRight\":\"\",\"leftCenter\":\"\",\"centerCenter\":\"\",\"rightCenter\":\"\",\"bottomLeft\":\"\",\"bottomCenter\":\"\",\"bottomRight\":\"\",\"spaceLeftRight\":10,\"spaceLeftRightMu\":\"px\",\"spaceTopBottom\":10,\"spaceTopBottomMu\":\"px\",\"enableSpacePhone\":false,\"spaceLeftRightPhone\":10,\"spaceLeftRightPhoneMu\":\"px\",\"spaceTopBottomPhone\":10,\"spaceTopBottomPhoneMu\":\"px\",\"verticalOffsetCenter\":0,\"verticalOffsetCenterMu\":\"px\",\"verticalOffsetCenterPhone\":0,\"verticalOffsetCenterPhoneMu\":\"px\",\"darkGradientAtTop\":false,\"darkGradientAtBottom\":false,\"darkGradientAtTopColor\":\"#000000\",\"darkGradientAtBottomColor\":\"#000000\"}},{\"type\":\"text\",\"cont\":\"<div class=\\\"_Default\\\"><span>This is why the word can once again become charged with meaning today. Not as a caption for the image, but as a tool for interrupting, contradicting, and slowing down the gaze. It is a matter of putting images in check. Perhaps this is where the dialogue between representatives of Visual Poetry and contemporary artists finds its raison d\\u2019\\u00eatre: not in a search for stylistic continuity, but in a shared need to challenge the instrumental use of images, and to give form to what ordinary language struggles to name.<\/span><\/div>\",\"align\":\"bottom\",\"row\":27,\"col\":0,\"colspan\":6,\"offsetx\":0,\"offsety\":0,\"spaceabove\":0,\"spacebelow\":0,\"yvel\":1,\"push\":0,\"relid\":53,\"absolute_position\":false}]}","_links":{"self":[{"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/posts\/791","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/comments?post=791"}],"version-history":[{"count":0,"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/posts\/791\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/media\/806"}],"wp:attachment":[{"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/media?parent=791"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/categories?post=791"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lab27.it\/en\/wp-json\/wp\/v2\/tags?post=791"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}