Torino Artscape is Artissima’s column highlighting current exhibitions in the city’s leading contemporary art institutions: a regular feature offering a glimpse into the most compelling exhibition programs, curatorial visions, and artistic expressions that animate Turin’s contemporary art scene. Torino Artscape invites you to explore Turin as an essential destination for art lovers, offering inspiration and cultural enrichment throughout the year.
This new episode is dedicated to Fondazione Giorgio Griffa.
Danzante. June Crespo
Up to 11.10.2026
Suspended forms, bodies that seem to emerge and withdraw in space, surfaces that vibrate between attraction and resistance: Danzante, June Crespo’s first solo exhibition in an Italian institution, transforms sculpture into a physical and perceptual experience. Curated by Bernardo Follini and on view through 11 October 2026 at the Fondazione Sandretto Re Rebaudengo, the exhibition constructs an environment in which the works act as active presences, capable of resonating with the viewer’s body.
Starting from organic suggestions—flowers, vegetal structures—Crespo develops a language that privileges matter and texture over representation. Casts, fabrics, industrial elements, and intimate fragments intertwine in assemblages that place the natural and the artificial in tension. It is through moving around the works that they reveal themselves: a silent choreography in which weight, scale, and suspension redefine the relationship between space and body, conveying a sense of vital instability, as if each form were caught in a moment of transformation.
Theatre of the mind. Lenz Geerk
Up to 11.10.2026
Isolated figures, still lifes, and essential interiors inhabit a suspended space where time seems to slow down into an inner perception. With Theatre of the mind, the Fondazione Sandretto Re Rebaudengo presents Lenz Geerk’s first solo exhibition in Italy, on view through 11 October 2026.
Geerk’s painting is built through minimal variations: controlled tones, restrained gestures, compositions that forgo narrative to focus on emotional and psychological states. Bodies, often silent and absorbed, share with objects and spaces the same introspective quality, giving shape to ambiguous, dreamlike images.
Far from any dramatic emphasis, the work situates itself at the margins of experience—in those suspended moments between presence and absence where the gaze becomes uncertain. What emerges is a disciplined yet deeply evocative painting, capable of conveying the slow time of looking and transforming the surface into a mental space.
Krapfen. Diego Marcon
Up to 26.07.2026
A young boy and four animated garments move within a relentless choreography, between seduction and threat: with Krapfen, presented at the Fondazione Sandretto Re Rebaudengo from 15 April to 26 July 2026, Diego Marcon creates a work that intertwines a childlike imaginary with unease.
Produced within the framework of the New Futures Production Fund—a collaboration between the Foundation and the New Museum in New York—the work unfolds as a short musical, drawing from both classical animation and opera. The musical score guides a sequence in which everyday elements come to life, urging the protagonist toward a gesture that is as simple as it is disturbing: eating a krapfen.
As often happens in the artist’s practice, languages and genres overlap, generating a short circuit between familiarity and estrangement. The seemingly playful atmosphere gradually fractures, allowing a subtle tension to emerge, in which the boundary between human and artificial, between life and object, remains constantly unstable.
EXHAUST. Xin Liu
Up to 11.1o.2026
Residues, debris, by-products of progress: in EXHAUST, Xin Liu’s first solo exhibition in Italy, discarded matter becomes the starting point for questioning the promises—and the consequences—of technological development. The exhibition, open from 15 April to 11 October 2026 at the Fondazione Sandretto Re Rebaudengo, brings together new productions and recent works, outlining a research practice that moves across science, engineering, and speculative imagination.
At its core is the idea of “cosmic metabolism”: a continuous process in which what remains—from rocket fragments to bioplastic materials—is reabsorbed into cycles of transformation linking the terrestrial scale to the interplanetary dimension. Films, installations, and research devices construct a narrative that moves between remote landscapes and possible futures, challenging the idea of progress as linear accumulation.
Rather than celebrating innovation, Liu observes its decay, transforming “exhaust” into an active material capable of generating new forms and imaginaries. In this shift, monumentality is overturned: no longer a lasting construction, but the fragile trace of a system in constant mutation.
– Text by Guia Agazzi