Cross the Streets is a multimedia exhibition that historicizes the street art phenomenon, the most globally influential art movement of the last 40 years. For the first time in Rome, a counterculture—by now part of the mainstream—enters a museum, the MACRO Museum of Contemporary Art in Rome. Opened from last May 7th, the exhibition will be on display until October 1st 2017.
Promoted by the Rome Department for Cultural Growth– Capitoline Superintendency for Cultural Heritage, the exhibition is conceived and produced by Drago, together with nufactory (promoter and producer of the Outdoor festival), the ABC Project of Lazio and with the organizational support and Museum Services of the Zètema Culture Project. The exhibition is endorsed by CONI.
The project was inspired by Paulo Lucas von Vacano’s research on the Street counterculture and all of its derivatives. As he explains in the exhibition catalogue, “the street watches [and] the street governs […]. Choosing creativity instead of crime is a stance that encourages art, music and sports. The revolution occurs when the street enters the museum and the museum becomes the street. Those who survive the streets, rule the world!”
Street art is a unique avant-garde that unifies youth, minorities, and the marginalized in an era of globalization. Cross the Streets at the MACRO will present a comprehensive introspection on street art through a kaleidoscope of urban art movements, including graffiti, stencil art, pop-surrealism, photography, and film. Street art in its various forms, from graffiti writing to mural painting, has a deep impact on the collective imagination. Originating as an underground movement of youthful protest, street art has positively invaded advertising, and the global fashion, film, and music industries. Cross the Streets aims to express the power of this complex and fascinating movement, highlighting its pioneers and its influence on daily life. The show will also examine street art’s role in inspiring fashion trends and the history of Roman graffiti.
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