"Oldies but Goldies," the second exhibition by Pesce Khete at the COLLI, presents a compact corpus of recent works, mostly in horizontal format and consistently resolved within a given surface. In this series, the artist appears to depart from the usual progressive construction, by aggregation, of his large papers and instead favors closed forms. The signs that appear therein recover the vocabulary of his beginnings, reinterpreting it in the present light of paths, reflections, and investigations that have traversed his work in recent years.

"Dite Sbadiglio di Evaporite" is the exhibition by Francesco Cavaliere that opens on Friday, June 10th at Colli independent. With "Dite Sbadiglio di Evaporite," Francesco Cavaliere seeks to give voice to alabaster, a precious evaporite of gaseous origin. It appears to be tired and yawning. Evaporites are geological thermometers of the Earth, mineral sediments that encapsulate the planet's history. Francesco Cavaliere, through the assembly of two small animal sculptures in alabaster, attempts to awaken their voice, that incomprehensible murmur after a long slumber.

Anne de Vries stages an open-air event in the HardStyle (Techno) genre, a miniature happening resembling a kind of diorama, featuring a fully functional micro-stage complete with audio equipment and a light show. The typical acoustic and visual overload of the HardStyle genre – a combination of lyrics, electronic music, and visuals – inundates the audience with a multitude of stimuli.

"Poetry and painting are identical; strangely, the problem is the same: it's a matter of iconography, of the world's image. It's about capturing the image and instantly synthesizing it, in any way." - Enzo Cucchi. The exhibition "Antifragile" is a specific project by Enzo Cucchi for Colli, centered around the diptych "Untitled (Pound)," composed of ceramic inlays on concrete. This anti-memory work, dedicated to the great poet Ezra Pound, serves as the spatial and research focal point of the exhibition.

"After Club" is a project aimed at capturing the impression of sudden silence and suspension that has enveloped nightlife since the beginning of 2020. It conveys a sense of collective disarray that has affected the world of clubbing – in the exponentially rapid sequence of event cancellations, collective disorientation, the proliferation of online streaming, the spread of digital festivals, and solitary DJ sets. Between the initial discussions with the artists in the exhibition and its implementation, the world has changed.

Sinossi (Bon voyage) by Pesce Khete is a series of paper-based paintings that focus on various stratigraphic cycles, passages delineated for a synoptic view of the work in the process. The artist, working in terms of production and systemic painting, has attempted to avoid the terms of an artistic "summa" by activating factors of "discard," recovery, and residue. The resulting works are part of an ongoing process of incessant painterly re-writing that has temporarily paused for the exhibition.

Colli hosts the Italian scene of revolutionary Italian printing from '66 to '77. The Italian situation during that period outlines a complex landscape of currents, movements, and political-aesthetic actions: Beat, Provotariato, Situationism, Political agitation and struggle, Counterculture, Counter-project, Feminism, Poetic struggle, Proletariat, Rejection of work, Celebration and total revolution, Post-situationism and neo-dada, Punk, and the '77 Movement.

Franco Ariaudo's project "Faster than Christ" is part of a broader investigation that the artist has conducted on certain scenarios of the "possible" and the influence they can have on our perception of reality or what we presume to be reality. The initial phase of the research stemmed from a residency on the Ukrainian island of Biruchiy, a place characterized by a very evocative landscape, nestled in the Sea of Azov, which is said to be so shallow that one can supposedly walk across it.

49 years ago, Robert Smithson created his first "earthwork" titled "Asphalt Rundown" in October 1969 in an abandoned quarry near Rome with the Attico Gallery. This exhibition and its accompanying publication gather rare and unpublished material from the archives of Claudio Abate and Fabio Sargentini (Galleria L'Attico), documenting Smithson's iconic pour and his exhibition inside the L'Attico Gallery. These documents bear witness to the research of the German artist Markus Karstiess, who in 2014 conducted an excavation at the Roman site in search of the remnants of Smithson's action.

Dexter Sinister presents the second in a series of 3 exhibitions by COLLI that trace the research work of Bruno Munari. On the occasion of this exhibition, "How to design (multiples)," Dexter Sinister presents the multiple "The Last Shot Clock," an electronic clock with an idiosyncratic timer originally produced for La Biennale di Venezia 2013 and subsequently reissued for a series of exhibitions and performances over the past five years.

In the joint exhibition, the theme of the relationship between water and the city is explored in its various facets. In Suter's work, numerous images seek to describe water from a superficial layer and then delve into its depths. The associative way of constructing narratives that relies solely on the use of existing images allows the Swiss artist to depict the Tiber River and its iconography through its diverse layers. History and image are intertwined through a continuous rhythm, punctuated by sensory and conceptual references.

In 1965, the Italian artist and designer Bruno Munari presented the Tetracono with an event and an exhibition at the Danese showroom in Milan, inviting viewers to "meet the Tetracono" as if it were a person. However, Tetracono is a multiple object, a stern black steel cube measuring 15 cm that houses four aluminum cones, each painted half red and half green, designed with a mechanical movement at four speeds on an 18-minute cycle. Its function is to "show forms as they are in the process of transforming."

The project, specifically designed for Colli, stems from the artist's interest in the historical architecture of Rome, which was conceived and constructed to have a special relationship with the celestial vault. The study pays particular attention to the Pantheon monument, seen as a tool for reading the sky and observing atmospheric phenomena. The oculus of the vault, considered as an archetype of vision, becomes an eye through which to experience the celestial space.

The Italian-German artist presents a photographic project executed within the context of the famous "Giochi senza Frontiere" (Games Without Borders). Particular attention is given to the television episode from 1995 set in the Sforza Castle in Milan, a monumental architectural backdrop with rich, ephemeral scenery that frames the competition and the mediatized challenge within the context of "Eurovision."

COLLI offers a focused overview of the multiple neon works created by Nannucci, starting from the early 1960s, such as "Box" (1969), "Asblue" (1970), "Quasi infinito" (1975), and "Out of the blue" (1980), up to the more recent pieces like "Listen to your eyes" (2007), "Whichever word" (2012), and "Look" (2013). The exhibition culminates with "THINK," created specifically for this show in an edition of twenty-one exemplars.