In collaboration with the Galerie Italienne, Paris 

Curated by Azad Asifovich   

In October Studio la Città will be opening its new series of exhibitions with the show La Musée 2 – a group show curated by Azad Asifovich and organised in collaboration with the Galerie Italienne, Paris – which brings together fourteen female artists of international renown, and that for the stop in Italy has been augmented with some new works. In fact the long term aim of the show is to become an itinerant exhibition, to be proposed for a tour that will touch on various venues, enlarged at times while keeping intact its intent. The show aims at overturning a condition that is common to the greater part of museum collections, for 80% composed of male artists and only of 20% females. Here the proposition is willingly inverted, with the aim of dismantling the current art system and culture in which the traditional artistic values and models are attributed to men. The large rooms of Studio la Città will host the artists: Sylvie Auvray, Anne Deguelle, Helen Frankenthaler, Muriel Gallardo Weinstein, Anna Galtarossa, Ghazel, Francesca Grilli, Sofie Muller, Lulù Nuti, Kiki Smith, Tracey Snelling, Jessica Stockholder, Hema Upadhyay,  beside just three outstanding men: Joseph Beuys, Gianni Caravaggio, and Ettore Spalletti. The works proposed are made with purposely heterogeneous materials, with a fluid narrative to stage a hypothetical museum exhibition layout, thus questioning the semantic content of the codes currently used in museums. The term “museum” corresponds in ancient Greek to a divine place consecrated to the muses. It honours the personifications of the spiritual and invisible Arts. Traditionally sacred and prestigious, museums establish a pantheon of artists who have obtained sufficient recognition during their career. But paradoxically, modern museums want to be popular and accessible. At the end of the 17th century and for all of the18th century in Europe public museums were opened to allow citizens at have access to Beauty, until then reserved for the elite. The aim, then, was to put at the disposition of the public the concept of “good taste”, so that the Fine Arts would be shot through with it and that the Virtue inspired by Beauty might inspire people too. And here a gallery that becomes a “museum” undertakes a self-criticism: sociological research has demonstrated that women, at the end of their art studies, often abandon their ambitions as an artist due to a greater selectivity and to economic evaluations that are less advantageous for their works. A show that is avowedly feminist aims at giving rise to thought, and is also aimed at the galleries which often play a key role in these unequal decisions, being the first channel of contact between young artists and the contemporary scene.