Roberto Amoroso - Manipolazione di origine controllata | Until April 18, 2026
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10 & zero uno is pleased to present Manipolazione di origine controllata, the new solo exhibition by Roberto Amoroso (Naples, 1979), an artist who has long collaborated with the gallery, accompanied by a text by Carlo Sala.
For the first time, Roberto Amoroso presents a series of works on canvas, which will be
accompanied by small sculptures, a textile installation, and a video piece, expanding and
consolidating his research on the relationship between reality and virtuality through a critical
analysis of the phenomena that characterize our time.
Amoroso’s work focuses on the continuous flow of information that shapes beliefs, choices, and social and political affiliations, questioning the truthfulness of contemporary narratives. As the artist himself states: “One of the most representative features of this historical moment is the flow of information that directs our beliefs, choices, and affiliations to social and political contexts.
Their truthfulness is called into question in a world where, while science progresses, communication takes on an almost magical dimension, transforming itself into storytelling. With the complicity of AI, reality is manipulated in favor of steering collective consciousness.”
In this sense, Sala through his text indicates that the exhibition is part of an increasingly complex visual and media context where: “the famous artist and theorist Hito Steyerl in her recent essay Medium Hot (2025) offers a lucid analysis of the relationship between images, capitalism and generative AI within a scenario in which «a series of technological monopolies take control of public goods such as information and siphon off our data to then resell them to us in the form of products obtained through expropriation». These words of the author are emblematic of the visual and media context in which we find ourselves living, dominated by an increasingly compelling agency of images that reveals their political, economic and even warlike dimension in conditioning behaviours, feelings and reflections. This context of non-neutrality of the visual material that
surrounds us is the scenario from which – as an intellectual reaction – Amoroso’s works exhibited in the Venetian exhibition Manipolazione d’origine controllata arise. The title poses an oxymoron, which appears to the visitor as a warning against the processes of creation, alteration and conveyance of visual and media content.”
With this new series of works, Amoroso claims the authenticity of manipulating reality
through imagination, understood as a poetic act. Particularly in the canvases, the juxtaposition of hypertextual references generates suspended, timeless images, devoid of a univocal narrative or a closed conceptual reference, leaving space for free mental associations.
The exhibition is also the result of several collaborations. Among these is the group of Ready- Made sculptures created with Bruno Di Costanzo, and the banner produced with the support of JL Atelier Couture, a company specializing in embroidery for luxury fashion, with whom the artist continues a path of dialogue with the world of textiles and craftsmanship.
In the video BTC #2, created jointly with Dario Amoroso, the manipulation of reality instead takes on a political and protest dimension, ridiculing war as an expression and manifestation of patriarchy.
BIO
The works of Roberto Amoroso draw from a hybrid repertoire of media-based, virtual, and real images. The artist engages with diverse symbols to create grafts between human, animal, and cyborg bodies. His artistic research focuses on identity as an ever-unfinished process, constantly negotiating with the alterities of virtual and digital worlds. Within this framework, Roberto breaks not only with the separation between everyday space and virtual space, but also with all classical dichotomies. Digital art thus becomes a privileged site
for dismantling binarisms, such as human vs. animal (for example, through the ethno-religious language of herianthropy), and male vs. female through a queer artistic approach and cyberfeminist reflection.
Among his most significant experiences are:
SPOT2 Piece of my Art, curated by Eugenio Viola and Adriana Rispoli, Museo Madre, 2009, Naples;
10th Biennial of Miniature Art, Cultural Centre in Gornji Milanovac, 2010, Republic of Serbia
Amorosoteofilo, Annamumma Gallery, 2011, Naples;
Campania Pavilion at the 54th Biennale di Venezia, curated by Vittorio Sgarbi, 2011
Premio Cairo, curated by Luca Beatrice, La Permanente, 2011, Milan;
Kunstform der Nature 2.0, curated by Mihael Milunovic, Parobrod, 2013, Belgrade
The Human Behaviour, Mars Milano, 2014, Milan;
I.P. Identity Portrait, curated by Guido Cabib, The Format, 2015, Milan;
Face to Face, Ernesto Esposito Collection, Palazzo Fruscione, 2016, Salerno;
Behind the Curtain, Galleria Dino Morra, 2017, Naples;
Multiplex Conscience, Museo Madre, 2019, Naples;
Muri d’artista, Cittadella degli Archivi, curated by Rossella Farinotti, 2019, Milan;
Orfeo Incantatore, MIDeC, curated by Lorenza Boisi, 2020;
Canis in Somno, project by Matteo Domenichetti, curated by Milovan Farronato, 2022;
Non siamo mai stati moderni, curated by Chiara Boscolo, critical text by Rossella Farinotti, 10 & zero uno gallery, Venice, 2022;
TESTAMENTO, Cremona Art Week, curated by Rossella Farinotti, Palazzo Guazzoni, 2024;
ARCADIA, Meteore Fest, curated by Ultraqueer, BASE Milano, 2024;
AMA Festival, curated by Luca Molinari, Convitto Nazionale G. Bruno, 2025;
L’intimo segreto del mondo là fuori, curated by Alberto Ceresoli, Spazio Fase, 2025;
Manipolazione di origine controllata
Roberto Amoroso
with a critical text by Carlo Sala
March 14 – April 18, 2026
Opening: Saturday, March 14, 6–8 pm
10 & zero uno, Castello 1830, via Garibaldi, Venice