SENSORAMA adopts the model of the Museum of Illusions in a cultured and original way and entrusts the exploration of the relationship between Vision and Perception to the works of artists of the past and present with the aim of showing the complexity of cognitive phenomena and the "pleasure" of be deceived.

Illusion is our reality . Because of the world out there, we see the little that our eyes are able to see. " How your eyes trick your mind ", as the eyes deceive the mind, say the English. The result is a representation of things that is not real at all. It is up to our brain to orient itself between appearances and puzzles. Those who deal with perception start from these premises, but know they have centuries of philosophical discussion behind them, from Plato onwards. The question "do we really see reality?" it is an ancient dilemma. Today, however, neuroscience can begin to give an answer, studying the sense organs and analyzing the brain's ability to interpret the signals they send to it.

The MAN museum in Nuoro , which has always dedicated itself to research and the different languages of the contemporary, inaugurates a new exhibition season that aims to reflect on some issues raised by the tragedy of the pandemic and imprisonment: interrupted communication, the gaze veiled by the diaphragm of a screen, the reading of images removed from view and returned in a virtual reality. Going back to looking, training the eyes and asking questions about the truth (or not) of the vision is the purpose of an exhibition that, starting from historical antecedents, from the noble fathers of a painting of truth and deception, such as René Magritte and Giorgio de Chirico, opens the spectrum to the most recent aesthetic investigations in terms of perception and authenticity. Here then are the photographs in the mirror by Florence Henri or the optical-kinetic tables by Alberto Biasi, the enveloping and disturbing environments of Peter Kogler or Marina Apollonio; and again, the anamorphic sculptures by Marc Didou or the performances intended as real human trompe-l'œil by Liu Bolin, the invisible man.

The title of the SENSORAMA exhibition is inspired by the name of a machine conceived in 1957 by the American director Morton Heilig to test synaesthetic experiences in his experience cinema, in order to amplify impressions, as well as sound with stereo audio, even tactile, dynamic and olfactory . To see music is the name of a section reserved for discovering synesthesia, the psychic automatism that consists in associating two contents referring to two different sensory spheres in a single image.