Beauty Codes (order/disorder/chaos) at Fondazione Giuliani

2_FG-Mangranè_ (- 

Artists: Lili Reynaud-Dewar, Pedro Barateiro, Pablo Bronstein, Haris Epaminonda, Fischli/Weiss, Jacopo Miliani, Amalia Pica, Alexandre Singh, Daniel Steegmann Mangrané

Exhibition title:  Beauty Codes (order/disorder/chaos)

Conceived and curated by: CURA, Fondazione Giuliani and Kunsthalle Lissabon

Venue:  Fondazione Giuliani, Rome, Italy

Date:  May 22 – July 17, 2015

Photography: Giorgio Benni, images courtesy of the artists and Fondazione Giuliani, Rome

Beauty Codes (order/disorder/chaos)

a project conceived and curated by CURA. Rome, Fondazione Giuliani, Rome, and #kunsthallelissabon, Lisbon


Fondazione Giuliani, Rome

with Lili Reynaud-Dewar, Pedro Barateiro, Pablo Bronstein, Haris Epaminonda, Fischli/Weiss, Jacopo Miliani, Amalia Pica, Alexandre Singh, Daniel Steegmann Mangrané

from 22nd May to 17th July 2015

At the origin of modern thought there is a contrast between order and disorder, “contrasting impulses and tendencies, the modular combination of which produces in every epoch the work of art.” Taking Friedrich Nietzsche’s The Birth of Tragedy as a point of reference, the exhibition Beauty Codes (order/disorder/chaos), is a collaborative project between three international art spaces, CURA., Fondazione Giuliani and #kunsthallelissabon, which unfolds over a six-month period, in three consecutive legs.

Loosely constructed around the narrative codes of Greek Tragedy, Beauty Codes begins with a single voice, then shifts to a gradual process of layering and accumulation, which disrupts the original order with multiple viewpoints, fractured boundaries and subverted roles, finally transitioning to a subsequent subtraction with a new set of objects and traces of previous actions. The complete exhibition cycle is a trajectory from a state of order and harmony, to disorder and chaos, leading to the formation of a new order and quietude.

The project began at CURA.BASEMENT with the installation Why Should Our Bodies End At The Skin? (2012) by Lili Reynaud-Dewar, a work which serves as the link between the three acts of a play performed on three separate stages, and which will be present in a different form in the exhibition at Fondazione Giuliani. As in the classical tradition, the narrator is called upon to introduce the stage action before its actual beginning, to explain the events and consequent actions that cause a reversal of roles, the multiplication of forms and perspectives, disorder, and finally the (never truly orderly) rearrangement of the previous situation.

The work of Reynaud-Dewar, which consistently focuses on the relationship between body, language, literature and identity, is part of the mise en scène of the exhibition, the deus ex machina of ancient memory, the narrative voice that supports the complex unfolding of the entire performance.

Daniel Steegmann Mangrané’s / (- \ (2013) heralds the beginning of Act 1 at Fondazione Giuliani. Upon crossing the threshold into the Foundation’s exhibition spaces, the viewer passes through four aluminium curtains, as if crossing the proscenium of a stage. This relational demarcation of space and movement confounds the distinction between stage and audience, actor and viewer, and creates anticipation for what is to come.

Upon crossing the proscenium, the viewer finds himself centre stage, observer and participant in a juxtaposition of different artistic practices and display. Works by Haris Epaminonda punctuate the exhibition space like notes of a spatial composition, both centering the setting of the scene of action, while dismantling conventional modes of exhibition display. This space of action is observed by the bronze busts of Bullen, Dandy and Strumpet (all 2013), themselves characters from Alexandre Singh’s The Humans, a 3-act play about introducing chaos into an otherwise orderly cosmos, itself modeled after the comedies of Athenian poet Aristophanes.

Yet rather than creating a singular narrative logic, Act I builds a disorderly juxtaposition of artworks in which different narratives link or intersect freely to generate a superimposition of storylines. Any straightforward trajectory is further dismantled by a stratification of interventions, a tumbling together of performances that reorganize the role of the actors and viewers. Works by Amalia Pica, Pedro Barateiro and Jacopo Miliani particularly reconfigure the space with performative sculptures. With Plans for the Construction of Paradise (2010-2013), Barateiro disrupts the division between author and spectator by both interacting with the public and activating the traditionally passive role of the viewer. An allusion to games, rituals and riddles, the work’s myriad possible abstract patterns indirectly dialogues with Amalia Pica’s ABC (line) (2013), both installation and performance that is activated by the continual reconfiguration of multi-shaped Perspex elements, and metaphor of the different meanings, function and interpretation of personal and collective communication. In the works of Jacopo Miliani, whose research is primarily based on an investigation of teatrality, sculptures become moving physical bodies. Through minimal actions, refined gestures and simple materials, the spaces of the Foundation become the stage where chaos both takes shape and leaves residual traces.

In the video by Pablo Bronstein, Young man spills cremated remains onto the floor I (2012), exhibited to the public for the first time, a highly stylised mise-en-scène portrays a single male figure whose theatricality suspends him between the representation of a Classical Greek sculpture and of a Baroque courtier. Finally, Fischli/Weiss’s iconic film, Der Lauf der Dinge (1987), transforms everyday objects into agents of motion. A journey of action and consequence, precarious moments of balance and stability, transmutation and collapse, the connection between cause and effect leads the viewer to metaphysical questions about the world, about the way things go.


CURA. Rome

from April 28 – May 31, 2015

with Lili Reynaud-Dewar

Act I

Fondazione Giuliani, Rome

from May 22 – July 17, 2015

with Lili Reynaud-Dewar, Pedro Barateiro, Pablo Bronstein, Haris Epaminonda, Fischli/Weiss, Jacopo Miliani, Amalia Pica, Alexandre Singh, Daniel Steegmann Mangrané

Act II

#kunsthallelissabon, Lisbon

Opening Monday, July 27

from July 28 – October 23, 2015

with Lili Reynaud-Dewar, Haris Epaminonda, Luca Francesconi, Jacopo Miliani, André Romão, Daniel Steegmann Mangrané

1_FG-Mangranè_ (- 

Daniel Steegmann Mangranè, / (- \, 2013

3_FG_Beauty Codes_Installation view

4_FG_Beauty Codes_Installation view


Haris Epaminonda, Untitled, 2014

6_FG_Beauty Codes_Installation view

7_FG-Epaminonda-Unititled #11 tb

Haris Epaminonda, Untitled #11 t/b, 2014

8_FG_Beauty Codes_Installation view

9_FG_Miliani_Contatto 7

Jacopo Miliani, Contatto 7, 2015


Alexandre Singh, Bullen, 2013

11_FG-Pica-A∩B∩C (line)

Amalia Pica, ABC (line), 2013

12_FG-Pica-A∩B∩C (line)

13_FG-Pica-A∩B∩C (line)

14_FG-Pica-A∩B∩C (line)

15_FG-Pica-A∩B∩C (line)

16_FG-Fischli and Weiss-The Way Things Go

Fischli and Weiss, The Way Things Go, 1987

17_FG-Bronstein_Young man spills cremated remains onto the floor I

Pablo Bronstein, Young man spills cremated remains onto the floor I, 2012

18_FG-Epaminonda-Unititled #19 tf

Haris Epaminonda, Untitled #19 t/f, 2014

19_FG-Barateiro-Is it by Mistake or Design

Pedro Barateiro, Is it by Mistake or Design?, 2015

20_FG-Barateiro-Is it by Mistake or Design

21_FG_Beauty Codes_Installation view

22_FG-Reynaud Dewar-Why should our bodies end at the skin

Lili Reynaud Dewar, Why should our bodies end at the skin, 2012


Jacopo Miliani, Handling, 2015