{"id":15380,"date":"2025-02-14T09:32:19","date_gmt":"2025-02-14T09:32:19","guid":{"rendered":"https:\/\/www.fondazionemorragreco.com\/?p=15380"},"modified":"2026-03-28T15:50:02","modified_gmt":"2026-03-28T15:50:02","slug":"eternal-returns","status":"publish","type":"post","link":"https:\/\/www.fondazionemorragreco.com\/en\/eternal-returns\/","title":{"rendered":"Eternal, Returns"},"content":{"rendered":"\n

Eternal, Returns<\/h1><\/div>\n\n\n\n

Eternal, Returns<\/h2><\/div>\n\n\n\n
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21.03.2025<\/p><\/acf-view-69c7eeaa0e29e>\n\n

30.06.2025<\/p><\/acf-view-69c7eeca60039><\/div>\n<\/div><\/div>\n\n\n\n

\n

Marina Xenofontos<\/p>

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Read the Press Release<\/span><\/a><\/h4>\n

Discover the map of the exhibition<\/span><\/a><\/h4>\n

Read the publication<\/span><\/a><\/h4>\n<\/div><\/acf-view-69c7e4f2dc843><\/div>\n\n\n\n
\n

Fondazione Morra Greco is pleased to announce Eternal, Returns<\/em>, the first institutional solo exhibition in Italy by Cypriot artist Marina Xenofontos, running from March 21-June 30, 2025. Featuring existing and newly produced works by the artist, the exhibition spreads across the decorated salons of the first floor of Palazzo Caracciolo di Avellino, the headquarters of the Fondazione.<\/p>\n

Eternal, Returns<\/em> hints at the manifold, layered, and covered strata of the architecture and decor of Fondazione Morra Greco\u2019s spaces, by entangling physical manifestations of concepts like time, history, and memory, each with its own poetics, ideological implications, and repetitions. Using a vocabulary that merges light, movement, and matter, Xenofontos dwells on the conceptual and embodied experience of an unconditional archive.<\/p>\n

The juxtaposition between the venue\u2019s lavish decorations \u2013 by painter Giacomo del P\u00f2, celebrating the Caracciolo and Carafa families \u2013 and Xenofontos\u2019 Code of Construction<\/em> (2024), referencing the postcolonial design of Cypriot bedrooms furnishing, creates an encounter between public and private codings of the personal, evoking the familial complex as a form of industrialization.<\/p>\n

Through spatial endeavours that isolate vernacular objects from the domestic realm, Xenofontos brings historical, social, and ideological constraints to the fore. These play out in elements and symbols that become living bodies concentrated and charged with multiple meanings. Latent significances, inscribed in the objects and architecture, activate alternative readings beyond their usual or conventionally assigned functions, investigating how private stories are shaped in \u201cofficial\u201d narratives of History and \u2013 vice versa \u2013 how the social spills into the individual.<\/p>\n

A series of Xenofontos\u2019 works, beginning with Data Storage of a True Spectrum<\/em> (2022), condense systemic failures into sculpture, transforming obsolete technologies like CD-ROM \u2013 broken pieces of empty information \u2013 into kinetic machines that reflect spectrums and (sun)light. The effect of light is also central in the installation Carousel<\/em>, which shows an archive of weathered curtains, taken from Xenofontos\u2019 rooms between 2001 and the present, with traces of windows from past architectures, the passing of time marked into the material. In the film archive We Were Supposed to Have Fun<\/em> (2011-ongoing), time feeds an everexpanding accumulation of differing cultural environments, from brothel houses to churches, philosophy lectures to techno parties.<\/p>\n

Eternal, Returns<\/em> also raises questions of salvage and discarded objects, such as in Over the Coop at Sunset, Multiple Scoliosis, and a Nest of Vicious Echinoderms and Propagandists, a Collection of Failed Memories Appeared Either Erupted by a Junction Box, or was Caused by Debris from the Classic Firework Show. It was too Beautiful to be Real<\/em> (2021). An assembled and disfigured puzzle featuring the Neuschwanstein castle, the work\u2019s fable-like image, scraped and deformed with time, casts a shadow in the form of a coded story of labour, power, and control \u2013 a shadow also cast against the painted lands and possessions of the Caracciolo family depicted in the final room of the exhibition spaces.<\/p>\n

Marina Xenofontos\u2019 modified vernacular objects, riddled with polyvocal significances, offer glimpses of everyday life, innervating both the fable with the real and the real with the imagined.<\/p>\n

The exhibition is co-financed with funds from Piano Strategico Cultura e Turismo 2024\/2025 – Progetto Global Forum Mostre d\u2019arte contemporanea EDI 2024 of the Campania Region.
\nWith the support of the Henry Moore Foundation and the Republic of Cyprus, Deputy Ministry of Culture.
\nWith the patronage of the Embassy of Cyprus in Rome.<\/p>\n<\/div>

The exhibition is co-financed with funds from Piano Strategico Cultura e Turismo 2024\/2025 \u2013<\/span> Progetto Global Forum Mostre d\u2019arte contemporanea EDI 2024 of the Campania Region.
\nWith the support of the Henry Moore Foundation and the Republic of Cyprus, Deputy Ministry of Culture.
\nWith the patronage of the Embassy of Cyprus in Rome.<\/p>\n<\/div>

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Photo by Amedeo Benestante. Courtesy Fondazione Morra Greco.<\/p>\n<\/div>

<\/div>

Artist bio<\/h3>\n

Marina Xenofontos (1988, Limassol, Cyprus) lives and works in Athens, Greece.
\nRecent solo exhibitions include View From Somewhere Near<\/em> at Kunstverein in Hamburg (2024); Public Domain<\/em> at Camden Art Centre in London (2023); In Practice<\/em> at SculptureCenter in New York (2023); Carousel<\/em> at AKWA IBOM in Athens (2022); I don\u2019t sleep, I dream<\/em> at The Island Club in Limassol (2021).
\nShe is the recipient of the Frieze Emerging Artist Award 2022 and recently participated in the 15th Baltic Triennial in Lithuania.<\/p>\n<\/div>

<\/div>

\"\"<\/p>\n<\/div><\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

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