A new ecosystem that blends design, contemporary art, electronic music, and creative cross-pollination.
A fluid space that seeks a point of intersection between creative cultures, operating through an ongoing process of cross-pollination.
The exhibition brings together the wearable metamorphic sculptures of Marcella Dvsi; the premier of the film/video work Between Hope and Alameda (2020) by American artist Lucas Reiner; the masterful woodworking design of George Nakashima in the main space; a selection of works by Tracey Snelling installed in the Vinyl Room within the collection of 45 000 electronic music records spanning from 1980 to the present; and the ceramics of Federico Borroni, presented within the more secluded area of DEPOSITO A.
The sound environment is shaped exclusively through a curated selection of 50 LPs mixed by Fabio Slider, traversing ambient, dub, industrial, and experimental genres. Entirely sonic in nature, the soundtrack subtly infiltrates the private and existential atmospheres of Tracey Snelling’s sculptural environments.
Vinyl—a cult object, currently mainly secluded to the specialist, DJ-only sphere—is recontextualized this time for a wider audience, activated within a resonant, immersive environment.
Opening | February 28th, 2026, Via XX Settembre 31/B, Verona, from 11:30 am to 2:00 pm and from 6:00 pm to 10:00 pm.
From March 1st, 2026, Wednesday to Saturday, 3:00 pm–8:00 pm, or by appointment.
About Lucas Reiner’s artwork Between Hope and Alameda
“Lucas Reiner, 2020
Camera and Edit: Heather Seybolt
8mm film transferred to video, black and white, silent
I spent New Year’s Day, 2020, with camerawoman and editor Heather Seybolt filming “portraits” of Thirteen Trees along a stretch of Washington Boulevard in Los Angeles. Using a super 8mm camera and a tripod, we filmed each tree for approximately three minutes, the length of a super 8mm film cartridge. In the editing of the film, we removed automobiles and trucks that passed by during the shooting, preserving an unobstructed view of our subject. This created jump-cuts, which can be seen among other subtle movements of the trees.
I have a fondness for the stretch of Washington Boulevard between Hope Street and Alameda Avenue downtown Los Angeles. What captured my attention of this area were the trees planted in the earth, hovering over streets shackled by concrete. The buildings provide backdrops for the trees, enveloping ages of neglect and uncontrolled human development.
In Los Angeles, the trees provide an unacknowledged economic value to the city. By foregrounding the trees, Between Hope and Alameda represents the reversal of this dysfunctional equation.”
Lucas Reiner, 2026
XX Settembre, 31/B
37133 Verona – Italy
Until 9-05 2026
