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Current exhibitions

XVII Giornata del Contemporaneo AMACI - December 11, 2021
Free entrance from 11.00 a.m. to 7 p.m.
Opening Eleonora Roaro. FIAT 633 NM at 4 p.m. followed by a guided tour of the current exhibitions




Basquiat and the unexhibited works from the Cozzani collection

The exhibition project is based on a prestigious loan and an illustrious guest: two independent but connected sections present a selection of works from the Cozzani collection on show to the public for the first time and the painting by Jean Michel Basquiat, Clay Liston, to which we dedicate a room and an ample digression. The link between the painting of the celebrated US artist and the others on show here is a close one; thanks to this exhibition it will be reunited with the collection to which it belonged, the anthology of works put together over the years by the La Spezia couple Giorgio and Ilda Cozzani, donated to the town and to the CAMeC in 1998.

The other rooms propose a miscellany of over 40 works by 40 different artists, taken as we have said from the Cozzani collection and with a special significance in that they are works which have never previously been exhibited, which have remained in the deposits since their donation and entry into the CAMeC permanent collections. The aim of our initiative is to highlight the wide-reaching nature of the Cozzani collection and the eclectic, omnivorous, encyclopaedic, and often pioneering taste of its creator. Giorgio Cozzani exercised his passion for art parallel to his important medical profession (he was dermatological consultant at the La Spezia hospital), concentrating particularly on international contemporary production. He was a tireless, roving collector who regularly visited the Venice Biennale, Documenta in Kassel, but also the most important galleries of London and Paris. His curiosity and instinctive flair created a singular collection characterised by the absence of any specific, clear-cut passion or any restrictive preferences and supported by an open, far-sighted curiosity, an impulse for constant updating and constant rethinking. The end result of this is a rich miscellany: over 1100 works including sculptures, paintings, photographs and “other” products of 20th-century visual arts.

The aim of the exhibition is in fact to rediscover and display Cozzani’s distinctive nomadic approach to the search for and choice of art works. We start from a 19th-century canvas by Niccolò Cannicci, the much-appreciated supporter of the Macchiaioli movement, and go on to document Cozzani’s interest in prestigious native artists (an unusual urban view by Giuseppe Caselli; an early, interesting work by Vincenzo Frunzo; a landscape by Augusto Magli; an example of Giancarlo Calcagno’s refined Informal work, a canvas from Francesco Vaccarone’s cycle Forme (Forms), an everted work by Mauro Fabiani); in Italian artists with very different styles (e.g. Sergio Dangelo, Mimmo Germanà, Bruno Mancinotti, Plinio Mesciulam, Silvio Pasotti, Piero Pizzi Cannella, Salvo, Emilio Scanavino, Claudio Verna); and in foreign artists, some of whom are extremely well-known in France but rarely present in Italian public collections, and are documented here thanks to our collector’s acumen and curiosity (e.g. Eduardo Alcoy i Lázaro, George Condo, Frank Dale, Martin Disler, Joel Fisher, Cristina Iglesias, Joe Jones, Jean Messagier, Juan Munoz, Stephen Rosenthal, Edward Ruscha, Olivier Strebelle, Hervé Télémaque, Franz West).

In a harmonious combination with the exhibition hosted on the second floor, the Project Room contains a selection of Unexhibited works from the new donations, works acquired thanks to the generosity of artists, their heirs and collectors, and shown now for the first time since their entry into the CAMeC.

Clay vs Liston. Basquiat e gli inediti della collezione Cozzani.  The authors: Mario Abis, Eduardo Alcoy i Lázaro, Jean-Michel Basquiat, Pompeo Borra, Giancarlo Calcagno, Niccolò Cannicci, Carmelo Cappello, Giuseppe Caselli, George Condo, Frank Dale, Sergio Dangelo, Martin Disler, Enzo Esposito, Mauro Fabiani, Joel Fisher, Vincenzo Frunzo, Mimmo Germanà, Chin Hsiao, Cristina Iglesias, Joe Jones, Brahim Kodra, Marco Lodola, Augusto Magli, Bruno Mancinotti, Plinio Mesciulam, Jean Messagier, Juan Munoz, Salvatore Paladino, Silvio Pasotti, Piero Pizzi Cannella, Stephen Rosenthal, Mario Rossello, Edward Ruscha, Salvo, Emilio Scanavino, Giacomo Soffiantino, Jesús-Rafael Soto, Olivier Strebelle, Francesco Tabusso, Hervé Télémaque, Ampelio Tettamanti, Nino Tirinnanzi, Francesco Vaccarone, Claudio Verna, Franz West.

Project room. The authors: Fernando Andolcetti, Pier Giulio Bonifacio, Giovanni Campus, Cosimo Cimino, Paolo De Nevi, Mauro Fabiani, Diego Gadir, Ruggero Maggi, Mauro Manfredi, Sauro Rollandi, Pino Saturno, Turi Simeti, Francesco Siani, Alberto Sordi, Luigi Tola, Giuliano Tomaino.



Exhibition promoted by
City of La Spezia
Mayor, Pierluigi Peracchini

and produced
CAMeC Centre of Modern and Contemporary Art
General manager of Cultural Services, Massimiliano Curletto

with the contribution of
Coop Liguria

curated by: Eleonora Acerbi and Cinzia Compalati in collaboration with Cristiana Maucci
graphic design: Publysistem, La Spezia
press office Municipality of La Spezia: Luca Della Torre | Tel. +39 0187 727324 |



April 27 / November 7, 2021


Jacques Toussaint

Art and Design in the Gulf of Poets

The exhibition is inspired by the French artist Jacques Toussaint’s twenty-year stay in Lerici from the 1960s to ‘80s, which gave him an extended opportunity to breathe a lively cultural climate and produce works in close relationship and harmony with the places and the nature and with authoritative cultural and artistic figures such as Attilio Bertolucci, Valentino Bompiani, Silvio Coppola, Vico Magistretti, Giorgio Soavi, Mario Spagnol, Mario Soldati.
The exhibition itinerary unfolds chronologically, starting with a glance at the preceding period (“the years of Paris”, the focal point of his training and early development) and concentrating in particular on the distinctive osmosis between art and design which was to become the main element of the artist’s creative evolution.
It was precisely in Lerici, at the Castle, in the summer of 1969, that Toussaint conceived and set up a pioneering exhibition, entitled Le due realtà (The two realities), which is also documented here. This exhibition presented an original debate on the use of the technology and new materials made available by industrial research and used in serial production and the arts.
The visitor will be able to see Toussaint’s design work of those years: the aluminium and saddlery chair which he significantly named Golfo dei Poeti (Gulf of the poets); the table Pontile (Quay), inspired by the jetty of Lerici which he was able to contemplate every morning from the wide windows of his home.
The co-curator Giosué Allegrini specifies: “Design, yes, but design which conceived the object-cum-sculpture as not deliberately immersed in a space of action as was typical of the ‘60s; rather as an image-cum-rational concept which interacts with the surrounding space, setting up deep relationships and expressive interdependences with it. The formal tool is geometry, which is however used not in exclusive terms of structural rationality, but intuitively as an expression of energies, memories and spatial and environmental evocations”.
Also present in the exhibition are works made in the Ligurian workshop which document the artist’s rapid movement towards geometrical and symbolic experimentation, characterised by the presence of blue, which can also be connected to the influence of the Ligurian setting. Regarding this development, Marzia Ratti, the co-curator of the echibition, points out: “The radical change in Toussaint’s language appears full force in the 1970 sculptures/paintings, where the exploration of geometry in space begins; using the square module of the box, this investigates the possibilities of a three-dimensional composition free of any precise reference to reality except as regards the physical behavior of the materials used. Materials with their primary reactions to processing are his central interest, whereby the two realities, art and technique, art and design, are clearly combined in a single creative concept”.
In order to convey to visitors a clear idea of Jacques Toussaint’s creativity which has developed over more than 50 years of work, the curators and the artist himself decided to insert an artistic intervention at the end of the exhibition which reflects the current spirit of his research. Its intention is to offer visitors more than just a chance for mere observation and to make them instead actual participants and protagonists in their turn. After crossing the threshold of an immersive space, they can pause in a site-specific installation which will allow them to concentrate on their own thoughts and on themselves. Accompanied by the evocative title Souvenirs de la terre and composed of illuminating blue neon elements and a video projection, it expresses an attitude which evokes only positive memories: Toussaint’s discreet, personal way of distancing himself from his personal reality and of not imposing a self-referential vision of his world.

Jacques Toussaint was born in Paris in 1947, and studied at the Institut des Études Économiques et Commerciales, then at the École Nationale Supérieure des Beaux-Arts de Paris, in the studio of the painter Roger Chapelain-Midy. In this period the artistic scene in the French capital was dominated by the second École de Paris: the models on which Toussaint based himself were Jean René Bazaine and Alfred Manessier, but later he was influenced by external stimuli and personal sensations, as well as by the work of Raoul Ubac and Mario Prassinos and later that of François Morellet, ending up by giving geometry an important role in his work. From here on he adopted it as a universal language, even if he applied it in a personal, intuitive way.
After the first exhibitions in France, in 1971 Toussaint moved to Italy where he began to take a parallel interest in furniture design, and was for several years the consultant for some important companies like Bernini, Interflex and Matteo Grassi. For the latter he developed a line of products and acted as art director. At the end of 1985 he created the Atelier brand as a synthesis of his previous experiences, the aim being to produce products commissioned from emerging designers including Hanspeter Weidmann, Wolfgang Laubersheimer, Hannes Wettstein, or reputed ones like Toshiyuki Kita, Ross Littell, Renata Bonfanti, Ole Mathiesen and Verner Panton. With Atelier he also dedicated himself to re-editions of projects of internationally-famed masters such as Alvar Aalto, Alfred Roth, Werner Max Moser, Hans Georg Bellmann a Giuseppe Terragni. From 1993 he collaborated in creating a new collection of recycled paper objects for Arbos of Solagna. During these years he took part in numerous one-man and collective exhibitions, at Arte Centro and Vismara Arte Contemporanea in Milan, Galleria Fioretto in Padua, Arte Duchamp in Cagliari, and abroad at the Bio Biennale of Lubljana, and at the galleries Quincampoix and Re/Neotù of Paris (with which he took part in the FIAC in 2004). During the same period he was invited several times to exhibit at the Museo Casablanca of Maio (Vicenza), an institution which illustrates the various stages of international contemporary art from 1960 to the present day with a rich collection of graphic works. In 1997, on the occasion of the exhibition at the Spaziotemporaneo gallery of Milan, for the first time Toussaint exhibited some works containing blue neon lamps. With the passing of time the fluorescent blue tubes became a hallmark of his work. In the same year he took part in the competition and exhibition Libero blu, on the occasion of the 40th anniversary of the Galleria Blu of Milan. Again in 1997 he created Glass Works, a collection of works with reflecting surfaces arising out of experimentations with finishings for glass, which was to become an omnipresent material in his work. From 2000 on, Toussaint dedicated himself to the creation of onsite installations. The relationship with the exhibition space became central to his art. The aim of these immersive installations, besides distracting viewers from their humdrum day-to-day way of thinking, was to procure a kind of hypnotic disorientation. This series of works began in the exhibition Tra sogno e realtà (Between dream and reality) curated by Magdalena Godlewska-Siwerska at the Arsenal Gallery of Bialystok in Poland (2001), and this was followed by interventions at the Fondazione Cocchi in the Torri dell’Acqua of Budrio (Art-Works, 2011), in the deconsecrated church of San Francesco in Pordenone In itinere, (In progress, 2012). Starting from 2012 he extended his expressive language with the use of video, enriching his vast vocabulary of the classic materials (paper, cloth, glass, metal) and techniques (silver-plating of glass surfaces, silk-screen printing on linen canvas, laser cutting on paper and veneering) used during the course of his career. This choice arose from the desire to make his interventions more modulable and dynamic. In 2014, he was invited by the Istitut Franҫais to present the exhibition …Que de bleu!... at the Palazzo delle Stelline, which integrated various media and the video Graphic Motion. This was followed by the installations in the crypt and chapel of the complex of Santa Corona at Vicenza, designed by Andrea Palladio (2016), and the exhibition In Itinere, presented first at the Spazio Antonio Ratti in the former church of San Francesco in Como (2016), and then on the occasion of Arte Fiera at the Torri dell’Acqua in Budrio, the Basilica dei Santi Vitali e Agricola in Bologna, and the oratory of San Francesco in Crespellano (2017). Toussaint has also taken part in numerous collective exhibitions in Italy and abroad including… nel Blu dipinto di Bluda Yves Klein, la magia di un colore nell’Arte Contemporanea at the MACA Museum of Contemporary Art of Acri, curated by Francesco Poli. 2017 was a time of reflection which culminated in the setting up of a one-man show at the Studio d’arte Valmore in Vicenza and the preparation of a monograph which traces the various stages of his artistic career beginning from the ‘60s. After a series of interventions in old religious buildings, in 2019 he turned his attention towards the intrinsic qualities of modern architecture, choosing the church of Santa Maria Assunta of Riola of Verato, the fruit of a long period of planning by the architect Alvar Aalto (1898-1976), for his first intervention, with an installation composed of videos and lights, presented in 2020 which will be followed by a new artistic action in January next year.
The long work of analysis and re-interpretation of 50 years’ activity in preparation for the publication of the monograph Jacques Toussaint. Arte 1967/2017 renewed his method of research, an original documentation of which can be seen in this exhibition in La Spezia in the work Galassia CAMeC/JT-840 x 675 h 500 SP.
Works by Toussaint are in the permanent collections of the Denver Art Museum (USA), the Neue Sammlung of Munich, the Kunstgewerbemuseum of Berlin, the Museum Narodowe w Poznianu of Poznan (Poland) and the Galleria d’Arte Moderna of Palazzo Forti in Verona.


Exhibition promoted by
City of La Spezia
Mayor, Pierluigi Peracchini
General manager of Cultural Services, Massimiliano Curletto

and produced
CAMeC Centre of Modern and Contemporary Art

in collaboration with
Piccolo Museo del Progetto

with the contribution of
Coop Liguria

curated by: Giosuè Allegrini and Marzia Ratti
project direction
: Eleonora Acerbi in collaboration with Cinzia Compalati and Cristiana Maucci
graphic design: Sarah Fontana, Vincenzo Nardino

in collaborazione con
Piccolo Museo del Progetto
Kumo Design

con il contributo di
Coop Liguria

Press Office Municipality of La Spezia: Luca Della Torre | Tel. +39 0187 727324 |
CSArt – Comunicazione per l’Arte: Chiara Serri | Tel. +39 0522 1715142 | Cell. +39 348 7025100 ||
Press Kit: 




P. 1

October 28, 2021 / February 27, 2022


Sabrina D'Alessandro

Resurrections, Insurrections, Actions 2009 - 2021

«Giving things their (ancient) name is a way of seeing them better».

In 2009 Sabrina D’Alessandro founded URPS, the acronym for Ufficio Resurrezione Parole Smarrite (Office for the Resurrection of Lost Words), an organisation for recovering «words which had been lost despite being very useful for life on earth».

The activity of this revolutionary office consists of restoring to our memory rare or otherwise forgotten words, transforming them into videos, sculptures, installations, actions. The URPS is structured according to an organigram whereby each department has its specific tasks and aims. The Dipartimento Rinascita Psicovocale (Department of Psychovocal Revival) has the task of giving expression to the sounds of the words; the Divisione Mutoparlante (Silent-Speaking Division) deals with non-verbal expression, the Area Personificazioni (Personification Area) instead brings words back to life via portraits of personality.

One of the fundamental principles is to «objectify in order to remember». This means «giving words a physical bulk so that (verba volant) they no longer fly».

For Sabrina D’Alessandro, contributing to safeguarding the richness of language is one of the aims of the enterprise, but the final goal is «a desire for a generalised rebirth which uses ancient words to achieve a new way of reading or reinventing reality».

All the words present in the works of the artist Sabrina D’Alessandro are the fruit of lexicographical research done by her over the years. This research has also produced two books published by Rizzoli, Il Libro delle Parole Altrimenti Smarrite (The Book of Otherwise Lost Words, 2011) and Accendipensieri (Thought-lighter, 2021).


Biographical notes
The work of Sabrina D’Alessandro (Milan, 1975) explores the relationship between words and images, combining art and linguistics. In 2009, she founded URPS Office for the Resurrection of Lost Words: “Organisation for recovering words which had been lost despite being very useful for life on earth”. Her work, which is listed in the Enciclopedia Treccani, has been exhibited in public and private places of art and culture in Italy and abroad, and published by Rizzoli (Accendipensieri, 2021 and  Il Libro delle Parole Altrimenti Smarrite, 2011), Domenica del Sole24Ore (Dipartimento Parole Imparavolate, 2016-2017), Sky Arte (Divisione Mutoparlante, 2016).
In 2018, she was awarded the Premio Suzzara for her public art works Parole al balcone and Fannònnola. Since 2016, she has been conducting a census on human defects in the form of an itinerant installation, hosted by various Italian and European towns, including St. Petersburg on the occasion of the 16th week of La Lingua Italiana nel Mondo. In 2020, two of her works entered the Farnesina Collection and the Treccani portal dedicated a special report to the work of the Ufficio Resurrezione, analysing its various fields of action (lexicographical research, staging of words through visual works of art and performances, publications and didactic projects in collaboration with museums).


Exhibition promoted by
Municipality of La Spezia
Mayor and Councillor for Culture, Pierluigi Peracchini
General manager of Cultural services, Massimiliano Curletto

and produced by
CAMeC Centre of Modern and Contemporary Art

with the contribution of
Coop Liguria

exhibition curated by: Eleonora Acerbi and Cinzia Compalati 
critical text in the catalogue: Pietro Gaglianò
registrar: Cristiana Maucci
exhibition graphic design: Gabriele Menconi
installation: Coop Zoe
translations: Susan Charlton
photos: Enrico Amici


Municipality of La Spezia: Luca Della Torre | Tel. +39 0187 727324 |
CSArt - Comunicazione per l'Arte: Chiara Serri | ph. +39 0522 1715141 | mobile. +39 348 7025100 | | 
press kit  



October 8, 2021 / March 20, 2022


The color room and pop focus





P. 0
coming soon


Eleonora Roaro. FIAT 633 NM


A new venture for the CAMeC Project Room which hosts the video installation FIAT 633NM by Eleonora Roaro, the winning project in the public competition Cantica21. Italian Contemporary Art Everywhere promoted by the Directorate General for the Promotion of the Country System of the Ministry of Foreign Affairs and International Cooperation, and by the Directorate General for Contemporary Creativity of the Ministry of Culture.

This Milanese artist was one of the 20 candidates selected out of the total of 93 for the Under-35 Section. The project, curated by Cinzia Compalati, will be presented to the public on Saturday 11 December at 4 p.m. on the occasion of the 17th edition of the Contemporaneo AMACI day.

Cantica21 aims at promoting research and practice in contemporary visual arts by supporting and making known the work of Italian artists and particularly by relaunching them in the cultural systems and on the international markets via the production of new works of art and the organisation of a large multi-site exhibition to be hosted in the various diplomatic/consular headquarters and in the Italian institutes of culture. The initiative hopes to broaden the offer of the country’s artistic potential, promoting the presence of Italian artists in the international contemporary art system. The selected works will in fact be displayed in a large multi-site art exhibition to be hosted in the Italian Institutes of Culture and in the Embassies and Consulates all over the world. Moreover, Cantica21 intends to create a collection of works which will increase Italian public collections of contemporary art, planning and subsequently implementing a series of projects. The work of Eleonora Roaro will enter the collections of the CAMeC, where it is to be displayed for the first time.

For Cantica21 Eleonora Roaro presents a video-installation entitled FIAT 633NM. The project, based on her family archive made up of about 360 photographs from 1937-38, is a critical analysis and deconstruction of the colonial exploits of that time in Italian East Africa (A.O.I., currently Ethiopia, Eritrea and Somalia), which have often been erased from the collective memory or nostalgically falsified. The video focusses on 52 images of FIAT lorries obsessively photographed on various occasions. Since the infrastructures were for Mussolini a tool of propaganda for emphasising aspects of modernity and progress, the FIAT trucks become a symbol of colonial rhetoric. The images of the lorries interact with the 1930s scenic postcards of the Ethiopian desert, which allude to the colonial idea of unspoilt land to be conquered. These are assembled to create an imaginary landscape, with a background of tape loops of Washint (the traditional Ethiopian wooden flute) prepared by Emiliano Bagnato. The audio track in the foreground, on the other hand, is a manipulation of the  coeval military march “Second Askari Eritrean Fantasy” (from the of State Sound and Audiovideo Archive, Istituto Centrale per I Beni Sonori ed Audivisi) in Rome, in which the Eritrean soldiers of Italian East Africa repeatedly shout “Viva l’Italia” (“Long live Italy”), “Mussolini!”, “Viva il Re” (“Long live the King”) to a hypnotic tribal tune.

Eleonora Roaro (Varese, 1989. She lives and works in Milan.) is a visual artist and researcher. She studied Photography (BA – IED, Milan), Visual Arts and Curatorial Studies (MA – NABA, Milan) and contemporary Art Practice (MA – Plymouth University, Plymouth). Her research focuses on moving images, with a particular interest in video, archival practices and archaeology of the cinema. Her work has been shown since 2011 in numerous museums and galleries such as La Triennale (Milan), Fabbrica del Vapore (Milan), Casa degli Artisti (Milan), MACRO (Rome), CAMeC (La Spezia). E-Werk (Freiburg), Maison de la Culture (Clermont-Ferrand), La Friche (Marseilles), the University of Udine for the project “Enhanced reality and virtual reality for promotion of the artistic and cultural heritage”; and in 2020 she was resident artist at the Casa degli Artisti (Milan). For 2020-22 she is part of the winning project of the MISTI Global DEED Fund of the MIT (Boston) and the Friuli-Venezia Giulia region entitled “Sensing Dolce Vita: an Experiment in VR Storytelling”, co-funded by a grant from the Adolfo Pini Foundation (Milan). Her articles and essays have been published in various journals such as “Alfabeta2”, “Alphaville”, “D’ARS”, “Doppiozero”, “Espoarte”, “Flash Art”, “Juliet”, “Hot Potatoes”, “L’Avventura”, “Nazione Indiana”, “Noemalab”, “Scenari”, “Segno”.
For further info:


Winner of the Under35 Section of the Public Call "Cantica21. Italian Contemporary Art Everywhere" promoted by the Directorate General for the Promotion of the Country System of the Ministry of Foreign Affairs and International Cooperation, and by the Directorate-General for Contemporary Creativity of the Ministry of Culture.

Created thanks to the support of
Ministero della Cultura - Direzione della creatività contemporanea
Ministero degli Affari Esteri e della Cooperazione Internazionale

Project produced by


Municipality of La Spezia
Mayor, Pierluigi Peracchini
General Manager of Cultural Services, Massimiliano Curletto


CAMeC Centro Arte Moderna e Contemporanea



curated by: Cinzia Compalati
sound design: Emiliano Bagnato
registrar: Cristiana Maucci
opening: December 11, 2021 at 4 p.m.
press office:
Municipality of La Spezia: Luca Della Torre | ph. +39 0187 727324 |
CSArt – Comunicazione per l’Arte: Chiara Serri | ph. +39 0522 1715142 | mobile. +39 348 7025100 ||
Press Kit CAMeC:


project room
December 11, 2021 / May 1, 2022