"The eye, the eye and the ear" , curated by Lucia Aspesi and Fiammetta Griccioli, is Trisha Baga's first institutional exhibition in Italy and brings together five video installations that investigate the relationship between the body and the evolution of visual technology, retracing the artist's production, from his first work There is no "I" in Trisha (2005-2007 / 2020), conceived as a television sitcom that plays with gender stereotypes in which Baga plays all the roles, to the most recent opera 1620 (2020) created for the occasion. Like a mise en abyme, the exhibition is a journey through the media that have marked Baga's practice, passing from VHS, to DVD to get to 3D, and has its roots in his performative practice. The spectators themselves are called to cross it with the stereoscopic lenses of 3D glasses. The artist also presents a rich selection of ceramics made since 2015 and six works from the Seed Paintings series (2017), composed of sesame seeds and wooden boards of different sizes.

The display of the exhibition refers to the characteristic settings of natural history museums, not only in the presentation of the works, but also for an unusual classification approach that relates the idea of fossil to technological devices, such as virtual personal assistants, creating short films - time circuits.

Through his ironic and humorous gaze, Baga reflects on the excessive reliance and hopes we place in technology, thus revealing its most fragile and unsuccessful aspects.

The title “the eye, the eye and the ear” fragments and details the senses active in the exhibition experience , in which the visual effects replicate and recall the sound ones as if to conceive the narration as a living organism.

Visitors are welcomed into the exhibition space by a wall writing , Orlando (2015-2020). The text is an excerpt from the preface of the 1926 book Half Mile Down by naturalist and scientist William Beebe, which explains the printing process of the volume itself. Baga, however, replaced the word “book” with the term “man” (man), giving rise to a paradoxical exchange of identity between human being and object. The work thus acts as a statement on the exhibition project, relating the human body to material and cultural artifacts and highlighting one of the central aspects of Trisha Baga's practice. As the opening and closing credits of the exhibition, the writing is also reproduced inverted at the exit of the Shed space.