Liliana Moro’s work for Platea is a powerful, subtle, acute artistic gesture, yet one that is never loud. It is a gesture of great responsibility, underpinned by a public act imbued with a form of generosity that places the location itself – the shop window – at the heart of things, allowing it to renegotiate its function as a static, purely hosting environment. Essential and open to the collective dimension, even before being a work in its own right, | senza | soluzione di continuitàtakes the form of a decisive architectural intervention that ‘breaks through’ the walls of Platea and reconfigures its physical presence and visual memory at number 46 Corso Umberto I in Lodi. The intuition to cover the walls of the exhibition space from top to bottom with a mirroring material responds to the need to ‘open up’ the window space and make it an integral part of the vast transience of narratives that unfold all around it. Like a seismograph, | senza | soluzione di continuità will record what happens in the square in front of it for ten months: the daily passage of people and vehicles, the passing of time, planned or chance encounters. These are all events that will enter the work ceaselessly and nourish it, triggering the immediate participation of those who pass through and live in that part of the city, day and night – be it for a fleeting moment or as part of the daily routine of those waiting at the bus stop across the street.
This architectural environment also brings with it a sensitive attitude that makes Platea a body touching the outside from the inside, and as soon as it does so, it reflects it and takes it back outside. In this way, the intervention is not deceptive. The mirrored surface of | senza | soluzione di continuità doesn’t judge; it isn’t a filter; it doesn’t break things down; it doesn’t alter them – it just faithfully reflects what its body encounters. It no longer makes sense to distinguish between form and content; it’s a body that, by virtue of its apparent coldness, restores a welcoming sphere. It’s a body that touches other bodies – yours, its own, ours – in a continuous, gentle, uninterrupted form of body-to-body contact. In this making and unmaking of touches and reflections, part of the game is played out amid glances and references. It’s here that another body decisively joins in: a sculptural element, an impassive witness that inhabits this environment and nails it to a tangible dimension, perhaps destabilising it a little but certainly connoting it and questioning us. A yellow tube (RAL 1023, typical of road signs, and often used by the artist in other works) occupies the space in its entirety: a vertical, off-centre sign connecting the floor to the ceiling. It looks like a support, a pole with no real function – and indeed it is – but a green nozzle protrudes from this long element: an extension, a subtle deviation. During the night, a slight trickle of water drips from this nozzle. The tube is activated, distilling insights and thoughts evoked by the location, Lodi, and becomes a small fountain, echoing the nearby River Adda. | senza | soluzione di continuità is thus remodelled, once again, as an architectural and atmospheric body that placidly drags along with it the solitary atmosphere of a provincial square at night, the classic topos of a fountain and a church nearby. If you listen carefully, that trickling flow of water can be heard by those passing by in the immediate vicinity, or perhaps by those waiting for the last bus.
| senza | soluzione di continuità is the backbone of Fivefold Tuning, the 2026 exhibition programme at Platea | Palazzo Galeano, curated by Giovanna Manzotti. Like in a single sequence shot, within the extended temporal structure designed for the programme (20 March 2026 – 15 January 2027), four emerging artists – Federica Balconi (Monza, 1999), Lorena Bucur (Cremona, 1996), Diana Lola Posani (Milan, 1994) and Andrea Di Lorenzo (Varese, 1994) – will gradually take to the stage over the course of spring and autumn 2026. The title Fivefold Tuningevokes the idea of a five-part harmony: a process of harmonisation and proximity that requires mutual listening and shared tension. The initial voice – that of Liliana Moro – sets the rhythm with which the practices of the other artists will fit in, through a continuous exercise of finetuning embracing different languages and sensitivities.
Liliana Moro was born in 1961 in Milan, where she lives and works. After graduating from the Brera Academy of Fine Arts, together with other artists, she founded the Spazio di Via Lazzaro Palazzi in Milan in 1989, which closed in 1993. Encountering her work means entering a space where only what is strictly necessary is present. Sound, words, sculptures, objects, performances, drawings, collages and videos make up an essential and direct universe, capable of restoring a reality that is both raw and poetic. Her works, often rooted in everyday objects and situations, invite us to look beyond the obvious, opening up areas of experience in which sight and hearing become tools for crossing over. Moro has exhibited in major group and solo exhibitions such as: Documenta IX Kassel; Aperto 45th Venice Biennale; Castello di Rivoli, Turin; Rome Quadriennale; Moderna Museet, Stockholm; PS1, New York; De Appel, Amsterdam; Milan Triennale; MAXXI, Rome; Galleria Nazionale d’arte, Rome; 58th Venice Biennale, Italian Pavilion; Galleria Emi Fontana, Milan; MUHKA, Antwerp; Fondazione A. Ratti, Como; Fondazione Zegna All’Aperto (permanent work), Trivero; Cubo Garutti/Museion, Bolzano; Kunstmuseum Liechtenstein, Vaduz; and PAC Padiglione di Arte Contemporanea, Milan.
Nel 2020, la Bielorussia è stata attraversata da un’ondata di proteste senza precedenti, scaturite dalla controversa rielezione di Aleksandr Lukashenko per il settimo mandato consecutivo e dalla violenta repressione messa in atto dal suo regime. Questo momento, pur non rovesciando il governo, ha rappresentato una svolta storica: l’emergere di un nuovo soggetto democratico collettivo, capace di ridefinire il senso di comunità e resistenza in quel contesto.