THE POOL NYC presents Morbide Macchine Silicee, Maria Grazia Rosin’s first solo exhibition in Milan.
Conceived as a dynamic and intermittent project, it unfolds from April 9th to July 16th, 2026, at Palazzo Fagnani Ronzoni, with a format structured around two solo exhibitions presented at different times.
The first act, conceived as a flash mob in support of glass, opens on April 8th and runs through April 17th.
Rosin revisits her monumental work Gelatine Lux, originally shown at the Museo Fortuny in 2007, sharing with the public the idea that glass can never be fully controlled. In doing so, she reveals its expressive autonomy and seductive force, shaped through principles of flexibility and modulation. This silicon-based material takes form through continuous motion, retaining a component that is never entirely static.
The installation Gelatine Lux is conceived as a single, large living organism made of water, with bioluminescent alien forms that function as its nervous system.
These creatures take on primitive, timeless biomorphic shapes, evoking oceanic depths and extraterrestrial outer space. They are immersed in an accelerated, fluid motion—like water, plankton, cosmic dust, and suspended particles.
Morbide Macchine Carnivore is presented directly from the Island of San Francesco del Deserto to the heart of the 5 Vie district.
Organic and artificial creatures, inspired by long, sinewy insect-like legs, embody genetic mutations unfolding in the Venetian lagoon. What we see is only the emergent part of beings that have developed under new and extreme ecological conditions. Iridescent green limbs, marked by altered genetic traits, extend from the water, suggesting bodies concealed from view—submerged and partially sunken into the mire.
New works, yet drawn from the Tentacular series, beginning with the octopus, the Venthusiani are modular elements, precious and ever-shifting, in which marine forms and suggestions merge without functional constraints.
The exhibition, animated by the light of Murano and the Venetian Lagoon, also speaks through the photographs of Mario Cresci and Roberta Orio. Cresci, through his abstract images, captures Rosin’s imaginative installation at Palazzo Fortuny, while Orio traces the conceptual and creative development of the Water Art project Morbide Macchine Carnviore.
From May 20th to July 16th, the second act of Maria Grazia Rosin’s solo exhibition unfolds, celebrating glass also in its more domestic and ironic dimension.
The exhibition will be accompanied by a critical text by Grazia Quaroni.