INTERMEZZO

From Thursday, January 22, 2026, Prometeo Gallery is pleased to present INTERMEZZO, a group exhibition that celebrates the gallery’s twenty-first anniversary.

Taking its cue from over two decades of activity, the exhibition assembles approximately twenty-one works dating from the mid-1960s to today. Spanning six decades, the selected pieces reflect diverse artistic approaches across drawing, painting, sculpture, installation, photography, and video. Conceived as a non-linear constellation rather than a chronological overview, the exhibition emphasizes the central role of artists in articulating critical and imaginative perspectives on the present.

INTERMEZZO evokes a suspended time, a gaze toward the past in order to imagine the future. A moment of pause and reflection, not as a point of arrival, but as an opening toward new perspectives. The exhibition takes the form of a choral narrative, in which different languages, poetics, and generations intertwine, highlighting the affinities, contrasts, and continuities that have characterized the gallery's journey and its dialogue with the international art scene.

Bones and moss in Aranda's The future is not the excess output of the present (2022), as well as the mangrove roots of hair in Diaw's Naître au monde, c'est concevoir (vivre) enfin le monde comme relation #2 (2022), encourage us to create bonds and interconnections, to start again from our origins. Zhuka’s MyTh-ing (2022) destroys all knowledge, all myths, creating everything anew. The indelible mark of time is instead mystified by Moudov's Performing Time (2012), Luli's clock in Once at a Time #5 (2025), and the desecrated engravings on the marble tombstones in Democracia's Ser y Durar (2011). An indelible mark that inevitably permeates Sierra's 160 cm line tattooed on 4 people (2000). Time expands anachronistically in Lampedusa (2020) by Stampone. Meanwhile, in Gamarra’s Querían brazos y llegamos personas (2022), time seems to stand still in an incomplete embrace that catches us off guard. Another embrace, this time seen from behind, envelops us in the nostalgia of a single moment: it is Jérôme’s Moonbeam I (2024), veiled by the marble shadow of A Spectre is haunting Europe (2025) by Matteo Mauro, an oppressive ghost, as heavy as the immense lightness of every single petal in Galindo’s Yo solo traigo Flores (2025). Testimonio (2012) by López (A-1 53167), History Zero (2013) by Tsivopoulos, and Gente Comune (2021) by Berta have different but complementary ways of delineating (and overcoming) an imposed limit through video. This limit is also imposed on us by Giambrone's Mirror n.17 (2021), where wax and thorns prevent us from entering a living self-portrait. On the other hand, ORLAN’s Attempting to Escape the Frame with Mask No. 1 (1965) tries to break free. Doğan’s Portrait (2025) is more alive than ever as it stares at us and arms itself with straps of bullets. While Pers’ D - ART_HISTORY / Municeddhe: le dormienti (2022) is a hymn to equality, as it seals time in an ‘animal’ contract, Marmolejo’s Anonimo 3 (1982) and Perrone's sculpture Mediterranea passione (2026) link it to a more intimate, more carnal human figure.

INTERMEZZO manifests every present moment. It is a snapshot of all the realities that have permeated the past years, on the basis of which the future will be shaped. Time, imperishable in every work, accompanies us in a whirlwind of timeless chronicles, strong in the knowledge that they can never become anything other than present. Every glimmer manifests a strong urge to react, to communicate. It invites us all not to remain silent.