«The world needs to be depixelated», Thomas Hirschhorn.

This is one of the sentences with which Thomas Hirschhorn describes the Pixel-Collages, an impressive cycle of works created between 2015 and 2017. For the first time brought together, they are set up following a layout designed by the artist, on a very long purple wall - The Purple Line - that crosses gallery 3. A project that seeks to show the invisible, renegotiates the exhibition context, and encourages the viewer to remain vigilant and conscious.

The power of this research lies in making us reflect on the control of images, on their authentication as facts, on the possibility of making visible the portions of reality that are hidden from our view through pixelation, a technique in which the image becomes unrecognizable. These works, born from the recombination of advertising photos alongside images of mutilated bodies, often create embarrassment in those who look at them, making us reflect on a concept repeatedly expressed by the artist: the spread of hypersensitivity in the contemporary world.

What Hirschhorn is looking for is a state of sensitivity, given by a gaze that remains vigilant and conscious of what surrounds it, without denying it; hypersensitivity, on the other hand, often leads to censorship and is paradoxically linked to self-protection and the exclusion of others.