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 the exhibition Metamorphosis, on show at Mucho Mas!, Witty Books, Quartz Studio, ALMANAC, Cripta747 and Jest.
Metamorphosis is a group exhibition, curated by Giangavino Pazzola and part of the EXPOSED programme, presenting works by six international artists selected by the European platform FUTURES Photography, with the support of CAMERA Torino. The exhibition explores metamorphosis as a process of personal, social and environmental change, offering a nuanced interpretation of the transformations taking place in the present.
Hypersea. Claudia Amatruda – Mucho Mas!
Up to 30.05.2026
At Mucho Mas!, Claudia Amatruda presents a selection of works from Hypersea, a multi-year project that invites viewers to reflect not only on the artist’s body, but also on their own. Through images, videos and sculptures, the artist constructs a coherent visual ecosystem that brings the body back to the centre, rescuing it from its progressive dematerialisation and making it a terrain for critical and sensory inquiry. Drawing on the concept of the margin as a space of resistance, Amatruda opens up speculative imaginaries in which the human hybridises with the animal and the technological.
In the exhibition, Cyborg Self-portrait No. 2 and Wheel Chair establish a dialogue with the performance video Operation Theatre (O.T.) No. 2, composing an immersive installation in which sound, object and image redefine the perception of the body as an unstable system. Water, the symbolic matrix of the project, becomes a generative and connective principle: through the concept of Hypersea, the body emerges as a dynamic extension of the ocean, suggesting a ‘more-than-human’ perspective and a new ecology of relationships.
The Dice Man. Máté Bartha – Witty Books
Up to 2.06.2026
Máté Bartha’s The Dice Man is an intimate and visionary journey through Budapest, suspended between memory and the present. The project seeks to bridge the gap between the crystallised city of childhood — suspended, almost unreal — and the contemporary metropolis, concrete and chaotic, through a process that weaves together chance, imagination and visual exploration. At its heart lies the desire to rediscover lost traces: not only in places, but in the invisible folds of lived experience.
Amidst dreams, personal archives and nocturnal wanderings, the journey becomes a means of existential reappropriation: a way to traverse absence, negotiate trauma and rewrite one’s relationship with time and space. As part of the group exhibition Metamorphosis, the work thus takes the form of a contemporary ritual, where wandering becomes a transformative gesture and an opening towards new forms of belonging.
Otherworlds. Anna Orlowska – Quartz Studio
Up to 2.06.2026
Otherworlds explores the artist’s personal history and that of her family, whilst also telling the story of a journey suspended between reality and fiction, between the everyday and the dreamlike. In this liminal space, past and present coexist in parallel, intertwining around the Silesian village of Sandowitz – now Żędowice – a place to which the memories of several generations are bound. At the heart of this microcosm lies a nineteenth-century mill, once powered by the waters of the Mała Panew River, alongside the village community that has since vanished. Orłowska thus recreates a mythical landscape, composed of handed-down tales, natural cycles and ancient ‘analogue’ technologies, in which human ingenuity adapts to the necessities of life. In the works, red becomes a narrative element: it derives from the iron deposits in the area and accompanies the transformation of the photographs on fabric, immersed in iron suspensions that alter their surface. Through cuts, stitches, folds and layers, the photographic medium opens up to a new form, somewhere between image, matter and memory.
(After) All things laid dormant. Benedetta Casagrande – ALMANAC
Up to 15.05.2026
(After) All things laid dormant brings together the most recent outcomes of Benedetta Casagrande’s research, developed over the last few years around a biocentric practice that explores non-human forms of life and interspecies relationships within the context of an environmental crisis. For the artist, photography becomes a space for transformation and exchange, an open-ended process characterised by material cross-pollination and encounters, situated at the crossroads between art and ecology.
Some of the images on display are the result of experiments with low-toxicity chemicals, obtained from plants gathered in the surrounding area, whilst the ceramic sculptures are plated with silver recovered from the residues of analogue printing. Within this system of relationships, artistic practice takes the form of a gesture of restitution, activating a circular micro-economy in which matter, environment and image regenerate one another.
Ada Zielińska – Cripta747
Up to 10.05.2026
Zielińska explores destruction as a generative force—not as spectacle, but as a process where tension, beauty, and transformation emerge. Working with both staged and real catastrophic events, she treats collapse as an aesthetic structure, creating highly controlled environments.
Die Verwandlung. Yana Wernicke – Jest
Up to 2.06.2026
Yana Wernicke’s Die Verwandlung explores metamorphosis as a threshold between identity, nature and collective memory. In rural areas of Germany, ancient rituals linked to Carnival and Pentecost see men dressing up in costumes made from natural materials gathered from the surrounding environment — leaves, straw, branches — bringing to life archaic figures such as the Straw Bear, the Leaf Man or the King of Pentecost. Wernicke focuses precisely on this moment of transition, in which the male body does not merely represent itself, but becomes a vehicle for broader forces, almost a conduit between the human and the natural. Nature does not appear as a mere backdrop, but as a living presence that re-emerges in embodied form. In the shared act of dressing, in the care taken with the materials and in the physical collaboration between the men, an intimate and vulnerable dimension emerges, in which the ritual survives through contact and repetition.
