The workshop space Officine Grandi Riparazioni (OGR) and Fondazione Sandretto Re Rebaudengo present Like a Moth to a Flame, an ambitious artistic project featuring over 50 artists curated by three internationally renowned curators Tom Eccles, director of the Center for Curatorial Studies at the Bard College of New York, Mark Rappolt, chief editor of the British magazine Art Review, and the British artist Liam Gillick. The exhibition celebrates the city of Turin and its vibrant and art scene through artifacts and art pieces that the town and its residents have collected in time. House of the Fondazione CRT, the exhibition creates an alignment with another major art institution the Collection of Fondazione Sandretto Re Rebaudengo, and establishes a collaboration with some of the town’s most important public museums in order to showcase a wide and eclectic range of artworks spanning from antiques to contemporary art. The dialogue between different styles and centuries overcomes the physical boundaries of OGR and continues in the venues of the other partner museums such as the Museo Egizio and Palazzo Madama that became exceptional showcasing spaces for contemporary art.
The aim of the exhibition project is to consciously interact with the cultural and artistic legacy of Turin by creating an holistic exchange between works and objects from five continents and eras as well as the work of local and international contemporary artists coming from both private and public collections – arranged as a journey through time and space. Egyptian sculptures of the second millennium b.c. like the enlarged head of the Pharaoh Tuthmose sit next to a Bible from Bologna dated 1280 and pioneering contemporary installations providing an immersive and extremely engaging experience for visitors, who are called to touch first hand the heritage of the Piedmont city and its surroundings. Despite the eclectic nature of the pieces on show, all the works are linked together by their provenance of belonging: Turin, so the visitors have the impression that, in spite of its breadth, the journey ends where it began, and that they, like the objects, have always been there, part of an infinite circle.