{"id":276328,"date":"2025-05-22T12:37:44","date_gmt":"2025-05-22T10:37:44","guid":{"rendered":"https:\/\/www.museodellecivilta.it\/riallestimenti\/museo-of-opacities-2-colonial-agricultures-and-architectures\/"},"modified":"2026-02-09T22:56:34","modified_gmt":"2026-02-09T21:56:34","slug":"museo-of-opacities-2-colonial-agricultures-and-architectures","status":"publish","type":"page","link":"https:\/\/www.museodellecivilta.it\/en\/riallestimenti\/museo-of-opacities-2-colonial-agricultures-and-architectures\/","title":{"rendered":"Museum of Opacities #2. Colonial Agricultures and Architectures"},"content":{"rendered":"

On May 21, 2025<\/strong>, MUCIV \u2013 Museum of Civilizations<\/strong> presents the new chapter of Museum of Opacities<\/em>.<\/strong> Curated by Rosa Anna Di Lella<\/strong>, Gaia Delpino<\/strong>, and Matteo Lucchetti<\/strong>, the project is dedicated to the ongoing rehanging and resharing of the collections from the former Colonial Museum of Rome<\/strong>, which became part of MUCIV\u2019s collections in 2017.<\/p>\n

Comprising over 12,000 works and documents<\/strong> that bear witness to the nearly century-long history of Italian colonialism in Africa (1882\u20131960)<\/strong>, the collections were originally created to support colonial policies, and have not been exhibited since the Colonial Museum closed in 1971. Now, in the Museum of Opacities<\/em>, MUCIV is engaging a wide range of participants in a process based on critical and narrative co-authorship. Each of the project\u2019s chapters focuses on a specific cluster of themes while involving the relevant communities<\/strong> and fostering dialogue between historical collections,<\/strong> new research, and contemporary interventions<\/strong>.<\/p>\n

Following the inaugural chapter in 2023, the second chapter centers on the relationship between colonial agriculture and architecture<\/strong>. Through artworks, photographs, and documents from the period<\/strong>, it analyzes the economic exploitation of environmental, geological, and human resources<\/strong>, as well as the use of art<\/strong> in shaping and implementing colonial policies in the occupied territories of Eritrea, Somalia, Libya, and Ethiopia<\/strong>.<\/p>\n

Through the dialogue between historical research<\/strong> and contemporary works,<\/strong>\u00a0 new narratives and interpretations are introduced that allow for a reconstruction and recontextualization<\/strong> of the propagandistic role the Colonial Museum once played within the national context. The Museum of Opacities<\/em> is grounded in the ongoing study and re-cataloguing of the museum\u2019s collections, and is closely integrated with research into the archival materials of the former Italian Institute for Africa and the Orient (IsIAO)<\/strong>. Thanks to a collaboration with the African and Oriental Collections Room at the National Central Library of Rome<\/strong>, the project exhibits a detailed historical reconstruction<\/strong> of how agricultural economies<\/strong>, urban and rural development projects<\/strong>, and water, electricity, and transportation infrastructures<\/strong> shaped the Italian colonial economy during the liberal, Fascist, and postwar periods.<\/p>\n

The entrance hall of the Palace of Sciences features new installations by Cooking Sections<\/strong>\u2014acquired through the public fund PAC \u2013 Plan for Contemporary Art\u2014and by DAAR \u2013 Sandi Hilal and Alessandro Petti<\/strong>, marking the conclusion of their Research Fellowship at MUCIV, which began in 2022. These are presented alongside Jermay Michael Gabriel\u2019s<\/strong> installation \u12e8\u12ab\u1272\u1275<\/em> \u1372\u136a<\/em> \u2013<\/em> Yekatit 12<\/em> (2022). The core of the exhibition is located on the first floor<\/strong>, adjacent to rooms that, starting in 2026<\/strong>, will house the future permanent display of MUCIV\u2019s collections of colonial origin<\/strong>.<\/p>\n

The curatorial approach and exhibition methodology echoes the layering of documents and artworks from the first chapter of Museum of Opacities<\/em>. It presents a selection of photographic documentation from main colonial exhibitions\u2014both national and international, covering both art and trade\u2014held in Italy, from the 1914 International Exhibition of the Navy and Hygiene<\/strong> in Genoa<\/strong> to the First Triennial Exhibition of the Italian Overseas Territories <\/strong>in Naples<\/strong> in 1940<\/strong>, which later traveled to Rome, Milan, <\/strong>and Bari<\/strong>. This evidence of the widespread and consistent presence of public displays promoting colonization challenges the belief that Italians were largely unaware of developments in the colonized territories. Moreover, the juxtaposition of these materials with works produced in the field by artists\u2014from both Italy and the Horn of Africa\u2014as well as with photographic dossiers and objects from the colonial collections, reveals how these exhibitions functioned as tools for shaping and manipulating the narrative of colonization, highlighting the need to revisit and clarify the history of Italian colonialism.<\/p>\n

The artworks from the historical collections of the former Colonial Museum include pieces by the artists Domenico De Bernardi<\/strong>, Gariesus Gabret<\/strong>, Laurenzio Laurenzi<\/strong>, Giorgio Oprandi<\/strong>, Yohannes Tesamma<\/strong>, Giustino Varvelli<\/strong>, Teodoro Wolf Ferrari<\/strong>, and Yitb\u0101rak<\/strong>. These works, carried out in a range of mediums, are presented in dialogue with two contemporary pieces from MUCIV\u2019s collections: Peter Friedl\u2019s <\/strong>\u00a0sculpture Tripoli<\/em><\/strong> (2015) and Adelita Husni-Bey\u2019s<\/strong> textile map Montagna verde<\/em><\/strong> (2011). Husni-Bey is also participating in the Sharjah Biennial 16 in the United Arab Emirates, on view through June 15, 2025, with her new video installation Like a Flood<\/em><\/strong> (2025), which was acquired by MUCIV through the Italian Council fund of the Ministry of Culture and coproduced in collaboration with the Sharjah Biennial.<\/p>\n

Throughout the exhibition, informative displays<\/strong> contextualize the presented materials within the broader framework of Italian colonial history. A program of guided tours<\/strong>, educational activities,<\/strong> and public events<\/strong> offers further opportunities for discussion.<\/p>\n

________________<\/strong><\/h3>\n

\u00a0<\/h4>\n

Cooking Sections,<\/strong> Rights to Seeds, Rights of Seeds\u00a0<\/strong><\/em><\/h4>\n

The project Rights to Seeds, Rights of Seeds<\/em> responds to the collection of seeds and agricultural products from the former Colonial Museum of Rome presented within the exhibition Museum of Opacities #2: Colonial agricultures and architectures<\/em>. This project by Cooking Sections\u2014a London-based collective founded by Daniel Fern\u00e1ndez Pascual and Alon Schwabe in 2013\u2014preserves seeds from 125 different varieties of vegetables from Southern Italy that are particularly resilient to rising temperatures and drought. Stored in ceramic jars inspired by traditional Southern Italian seed containers, the seeds have glazed with the ashes collected from the remains of seeds and the branches of olive trees affected by Xylella fastidiosa<\/em>, a bacterium that has devastated olive monocultures in southern Puglia. Twice a year\u2014during sowing and harvesting seasons\u2014farmers are invited to bring additional seeds to MUCIV to exchange with those in the jars. This transforms the museum into an active space for the free circulation of these seed varieties.<\/p>\n

With the goal of establishing a long-term collaboration with the network of farmers who preserve these seeds, the Museum has signed a \u201cseed exchange protocol\u201d that formalizes the guardianship of these unregistered seeds to protect them from ownership claims, patents, and commercial restrictions. Thus, Cooking Sections\u2019 intervention also invites broader reflection on the implications of the \u201crights of nature,\u201d beginning with the seeds themselves. These seeds remain unowned and uncommodified, circulating within a living collection guaranteed by the Museum of Civilizations. <\/p>\n

DAAR \u2013 Sandi Hilal and Alessandro Petti, Entity of Decolonization: Ashes <\/em><\/strong><\/h4>\n

Ashes<\/em> is a new phase of the ongoing project Entity of Decolonization<\/em>. It emerges\u2014quite literally\u2014from the ashes of a copy of Entity of Decolonization <\/em>(2022), an installation by DAAR (Decolonizing Architecture Art Residency), a collective founded by Sandi Hilal and Alessandro Petti in 2007, based between Palestine and Sweden. The original installation was exhibited on the terrace of the Palace of Sciences at MUCIV \u2013 Museum of Civilizations. In May 2024, the replica was burned during a collective ritual at the former Entity for the Colonization of the Sicilian Latifundium in Carlentini (Province of Syracuse). The resulting ashes are now contained in eighteen amphorae, each intended to \u201cfertilize\u201d a new project. This approach continues the reflections initiated by Entity of Decolonization<\/em>, critically engaging with the legacy of difficult heritage\u2014fascist, colonial, and modernist\u2014and exploring the collective imagination of new possible applications and interpretations of these histories. For Ashes<\/em>, DAAR has reassembled two display cases from the former Colonial Museum of Rome, subverting their original function of displaying products of colonialism. The vitrines have been transformed into a device for sharing a video that illustrates the transformation of the colonial entity into a decolonization entity.<\/p>\n

As DAAR\u2019s work demonstrates, Italy contains a significant architectural heritage from the colonial period (1882\u20131960), much of which has yet to undergo a conscious decolonization process. Thus, from the ashes, another initiative is born: the Prize for the Critical Reuse of Difficult Heritage, a new collaboration between DAAR and the Museum of Civilizations. The inaugural award was granted to the Municipality of Carlentini in recognition of its support for the reuse of Borgo Rizza colonial structures. Together, DAAR and the Museum aim to recognize the value of individuals and projects that reorient this difficult heritage toward new interpretations and uses to generate further shared, transformative possibilities.
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On May 21, 2025, MUCIV \u2013 Museum of Civilizations presents the new chapter of Museum of Opacities. Curated by Rosa Anna Di Lella, Gaia Delpino, and Matteo Lucchetti, the project is dedicated to the ongoing rehanging and resharing of the collections from the former Colonial Museum of Rome, which became part of MUCIV\u2019s collections in […]<\/p>\n","protected":false},"author":61,"featured_media":270688,"parent":265314,"menu_order":74,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_et_pb_use_builder":"off","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-276328","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nMuseum of Opacities #2. Colonial Agricultures and Architectures - MUCIV-Museo delle Civilt\u00e0<\/title>\n<meta name=\"description\" content=\"Museum of Opacities #2. 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