ROME.- Post Scriptum. A museum forgotten by heart, the large group exhibition running at MACRO – Museum of Contemporary Art in Rome until 16 February 2025, now contains a new project: a selection of images of two editorial fashion features that have taken form inside the show, commissioned to art director and stylist Francesca Cefis and realized by two photographers, Alassan Diawara and Lukas Wassmann, respectively in collaboration with adidas Originals and Emporio Armani.

The two photo features, created thanks to the involvement of the two brands, offer an original documentation of the exhibition itself, in a double short-circuit triggered by two different gazes on the show, spreading through the whole museum: the entire series of images of each feature will thus translate into the two catalogues of the exhibition, soon to be released.

The group show is the conclusion of Museum for Preventive Imagination, the five-year project in which MACRO, under the artistic direction of Luca Lo Pinto, has been transformed into a three-dimensional magazine, organized in various columns that have gathered languages, poetics and research in an interdisciplinary and undisciplined perspective. Post Scriptum. A museum forgotten by heart does not follow a linear narrative, but creates an open finale composed of the contributions of 37 artists and authors who create unexpected associations between different languages and unforeseen stimuli, with respect to the tradition of institutional critique, metabolized and restored to the museum as a living entity in a state of becoming.

The new images by Alassan Diawara and Lukas Wassmann offer further stratification, occupying the walls of the hall containing the MACRO collection and partially overlapping with the photographs of the museum’s storerooms made by the photographer Giovanna Silva.

The project enters the concluding pages of a museum program that has constantly investigated the boundaries of the idea of the exhibition and the artwork, utilizing the metaphor of the magazine. In this case, the language of the editorial fashion feature is not just utilized in its development as a work in the context of the show, but also shifts the focus of reflection onto the relationship between the show itself and its formulation as image, as its mode of survival and – in many cases – of observation and circulation.