From Sept. 26 to Oct. 25, 2025, the Sottotetto of Palazzo della Loggia in Brescia will host the solo exhibition of Marion Baruch, an internationally renowned artist known for her research in fiber art, performance and participatory art. The exhibition, titled COTIDIE TRADĔRE, represents the first occasion in which the artist is presented in a Brescian context and is part of the program of the nineteenth edition of Meccaniche della Meraviglia, a project conceived by Albano Morandi and spread throughout the city and province, carried out in collaboration with the Municipality and Province of Brescia and co-financed by the Brescia Chamber of Commerce. The exhibition is curated by Ilaria Bignotti, Beatrice Cuccirelli and Camilla Remondina. Cuccirelli, the artist’s granddaughter, is also coordinating the work of cataloging and archiving Baruch’s works, part of the careful scientific research that accompanies the exhibition.
The exhibition takes place in a place of special historical and architectural interest: the Attic of the Palazzo della Loggia, an oak and larch wood structure located under the lead dome of the Renaissance building, rarely accessible to the public. The choice of the site responds to the organizers’ desire to create a dialogue between the architectural space and the works, enhancing the historical memory and materiality of the building. The exhibition route opens on the mezzanine floor with Ron Ron, a 1972 historical work made from a ball of fabric and faux fur. The discreet and silent presence of the work induces a feeling of domesticity, suggesting the relationship between living space and everyday life. Next to it, Beehive, a soft and clear grid from 2017, recalls the communal and industrious dimension of the city, representing the place where each individual contributes to the functioning of the community.
The Sottotetto houses the large-scale work of 2024 Quel che rimane del cielo, a blue fabric installation that references the vault of heaven and, at the same time, pays homage to the city of Brescia. The work is flanked by a set of materials and tools that make up the artist’s workshop, allowing visitors to observe the creative process and behind-the-scenes of the textile sculptures, which are made from discarded fabrics derived from the fashion industry.
Visits to the exhibition are by appointment only, on the following dates: opening Friday, Sept. 26 from 5:30 to 8 p.m.; Saturday, Oct. 4 from 10 a.m. to 1 p.m. and 3 to 9 p.m.; Friday, Oct. 10 from 3.00 to 6 p.m.; Saturday, Oct. 11 from 10 a.m. to 1 p.m. and 3 to 6 p.m.; Saturday, Oct. 18 from 10 a.m. to 1 p.m. and 3 to 6 p.m.; Saturday, Oct. 25 from 10 a.m. to 1 p.m. and 3 to 6 p.m. Reservations available through info@guidaartistica.com.
Within the program of Mechanics of Wonder 19, Baruch’s exhibition complements other projects in the city and province. Through Sept. 28, 2025, MO.CA - Center for New Cultures is hosting Luca Caccioni ’s solo exhibition curated by Walter Guadagnini, while at Bunkervik is the sound installation We don’t end, curated by Marco Pierini, by artist and sound designer Luca Formentini. Until Oct. 19, 2025, at Leonesia - Vittorio Leonesio Foundation in Puegnago del Garda, the exhibition by Corrado Bonomi, Il Cardellino, curated by Alberto Fiz, is open.
Marion Baruch was born in 1929 in Timișoara, Romania, to Hungarian parents. Her artistic training began at the Academy of Fine Arts in Bucharest, continued at the Bezalel Academy of Arts and Design in Jerusalem under Mordecai Ardon, and was completed at the Academy of Fine Arts in Rome. He then moved to Paris, where he lived and worked from 1993 to 2010, before returning to Italy. The artist’s career spans numerous avant-gardes and languages, with an emphasis on transforming discarded materials into works of art. This approach has helped define her as a leading figure in fiber art and among the pioneers of performance and participatory art.
Throughout her career, Baruch has collaborated with radical design figures, including A. G. Fronzoni and Dino Gavina, developing projects such as Ron Ron and Lorenz, included in the Ultramobile series. In the 1990s, he adopted the pseudonym NAME DIFFUSION, through which he conducted collective activities and realized various art projects. The most recent works explore the relationship between art and society, questioning the body, language and excessive consumption of resources, using textile scraps to investigate memory, space and the transformation of materials. The works in the exhibition also include some of the most important works in the artist’s oeuvre, testifying to the long path of research that began in the 1950s and was consolidated in the following decades.
Baruch’s works can be found in international institutions such as the Center for Contemporary Art in Tel Aviv-Yafo, the National Museum of Contemporary Art in Bucharest, the Centre Pompidou in Paris and numerous other facilities in Europe and Italy. Their host collections include Kunstmuseum Luzern, MAMCO Geneva, Roche Art Collection Basel, Musée d’Art Moderne de la Ville de Paris, Triennale in Milan, Galleria Nazionale d’Arte Moderna e Contemporanea in Rome, Museion Bolzano, Groninger Museum, Turner Contemporary in Margate, Kunsthalle Friart Fribourg, and MA*GA in Gallarate.
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| Fiber art and textile experimentation: Marion Baruch on display in Brescia |
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