Unrealised Exhibitions is a new section of MoRE Museum dedicated to all those exhibitions that have never been realised. As well as the unrealised artworks, also these projects, that have never been set up, allow us to look from a different perspective at the history of art of the XX and XXI centuries.
There are many reasons for these projects to remain unrealised, and many stories to be told around them. Just think of some of the most famous opportunities in the XX century: the E42, which has never been set up but at the same time has been the starting point for an entire new district in Rome; Hans Haacke exhibition Shapolsky et al., Manhattan Real Estate Holding, censored at the Guggenheim Museum in New York in 1971, which led to the dismissal of the curator Edward Fry; or the exhibition La Mamma imagined by Harald Szeemann in the mid Seventies.
Institutional archives will be the privileged place of this research, but artists and curators will also be our fundamental interlocutors.
MoRE has already addressed this theme in various ways, for example with the essay by Anna Zinelli, Pornographie. La sezione non realizzata alla documenta 5 di Kassel, but it was also tangentially present inside the story of several projects stored inside our archive, designed for specific exhibitions, that turned differently than was originally planned - for example Tiramolla 1992 proposed by Liliana Moro for documenta 9 in Kassel, 1992 - or that have simply never been realised, such as the Cannocchiale ottico percorribile, originally designed by Paolo Scheggi for the exhibition Interventi nel paesaggio, commissioned by the 1968 Milan Triennale. Finally inside the digital archive we can also find unrealised artworks that are exhibitions themselves, like Cesare Pietroiusti Projects for a retrospective exhibition.
Now a series of monographic studies will focus on specific moments, exhibitions that could have been but have never opened to the public.