Bruna Esposito: In Light of Facts. July 24, 2026 – February 1, 2027

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Cold Spring (NY), July, 2026. Magazzino Italian Art presents Bruna Esposito: In Light of Facts. Curated by Nicola Lucchi, the exhibition is installed in the Robert Olnick Pavilion and will be open to the public from July 24, 2026, through February 1, 2027. In Light of Facts brings together works never before exhibited in the United States: a substantial selection from the series inconveniente (2014) and the installation Oltremare (sotto terra vulnerabili) (2006–2011). Considered together, the works transform the museum’s temporary exhibition pavilion into a dialectical environment, in which common materials open possibilities for poetic and critical reflection. The title plays with the idea of bringing facts to light in both a physical and metaphorical sense: light becomes a tool for making visible aspects of the reality around us that are often overlooked. By reworking objects that evoke migration and trade across the Mediterranean Sea and other spaces of global transit, Esposito engages with themes of movement, labor, vulnerability, identity, and the forms of adaptation that characterize contemporary life.

The exhibition marks the second collaboration between Bruna Esposito and Magazzino Italian Art. In 2021, the museum installed Altri Venti – Ostro (2020) on its grounds, a project supported by the Italian Council, the program by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture that promotes the international dissemination of Italian contemporary art. The relationship between the artist and the institutions founded by Nancy Olnick and Giorgio Spanu, however, dates back earlier: in 2013, Esposito conceived and realized the site-specific work Out of the Blue within the context of the Olnick Spanu Art Program in Garrison, NY, beginning a dialogue that now finds a new chapter in this solo exhibition.

In Bruna Esposito: In Light of Facts, many of the materials used to create the works on view hint at the margins of economic systems: found objects connected to contexts of rescue, commerce, protection, and transit. The artist’s choice of these objects recalls both the Duchampian avant-garde gesture of the ready-made and the material vocabulary of Arte Povera; Esposito’s work, however, redirects this artistic legacy toward a reflection tied to the material, social, and political conditions of the present.