From November 12, 2025 to January 11, 2026, the Mattatoio di Roma presents the exhibition THE FORMS OF HUMANITY by Keisuke Matsuoka, promoted by Assessorato alla Cultura di Roma Capitale and Azienda Speciale Palaexpo. Organized by Azienda Speciale Palaexpo in collaboration with Latitudo. The exhibition is born from an idea of Ivana

Della Portella, Vice President of Azienda Speciale Palaexpo with a delegation to the Mattatoio di Roma, and curated by Tomoko Asada.

The exhibition "The Forms of Humanity" showcases the intense work of the Japanese sculptor Keisuke Matsuoka, aimed at exploring the image of a 'universal human being'.

Matsuoka's research, generated from a conceptually and expressively manifestly oriental reality, assumes, in the project The Forms of Humanity, a

multifaceted and polysemic perspective, with the aim of investigating the dark and evanescent aspects of individual and collective existences. The central idea of Keisuke's work Matsuoka consists of attempting to discover, from a morphological-anthropological-cultural and also animistic-spiritual point of view, the threads that connect all men regardless of any gender, ethnicity, place, or culture component that may classify or condition them. Matsuoka analyzes and transmits all this with his own art, shaping, transforming, destroying, and rebuilding; just as nature does, just as happens to our identities. The result of this historical process is creatively modulated through a series of fragmented and recomposed sculptures and large installations that explode on the surfaces of the walls.

The exhibition path opens with two ebony sculptures both depicting a face, in one case, Gravity Refugee, decomposed into a myriad of fragments, partly mapped and 'exploded' on the wall, and in the other sectioned in two halves, For the destruction that will one day come. At the center of the Pavilion is a large magnetic sculpture A tree man, with a wooden soul wrapped in a metal net on which thousands of tiny magnets are fixed, whose function is to retain the iron and titanium dust covering the entire figure.

In the last room, there is instead a series of works depicting heads and glass sculptures made in fusing, well-defined bichrome sculptures in form, but aimed at remaining in a state of transition between solid and liquid. The exhibition concludes with the room dedicated to sketches, models, diaries, matrices, and artist's printing proofs, thus offering visitors the opportunity to inhabit the artist's studio by tracing the various creative phases through direct perception of the materials and techniques used in the different moments of creating his work.