Pinacoteca Agnelli presents a new chapter of the Beyond the Collection program dedicated to the Permanent Collection of the Museum through the exhibition project by Piotr Uklański. The exhibition Faux Amis, open to the public from Friday, October 31, 2025, to Monday, April 6, 2026, inside the Treasure Chest of the Pinacoteca, is complemented by two interventions by the artist at the Museum of Human Anatomy Luigi Rolando and the Museum of Fruit Francesco Garnier Valletti in Turin.

Invited to propose a project of interaction with the Permanent Collection of the Pinacoteca, the Polish artist chooses to interact with the entire space of the Treasure Chest, in a game - at times provocative - of resonances, references, and relationships with his pictorial, installative, and photographic works. The title of the exhibition Faux Amis (false friends), a French expression that describes two words that, in different languages, sound similar but have very different meanings, anticipates how Uklański contrasts his works with those of Bernardo Bellotto, Henri Matisse, Pierre-Auguste Renoir, Antonio Canova, and Edouard Manet. The artist outlines similarities that often rely on the pictorial genre and formal and iconographic references, referring to complex and layered readings of history. With an approach he himself defines as "cannibalistic," Uklański sifts through art history and finds sustenance in centuries of art produced by artists who precede him. Faux Amis emphasizes the role of studying and knowing art history in contemporary practices and presents unexpected perspectives on the masterpieces of the Permanent Collection.

The exhibition extends beyond the walls of the Pinacoteca and includes two interventions by the artist at two Turin institutions: the Museum of Human Anatomy Luigi Rolando and the Museum of Fruit Francesco Garnier Valletti in the San Salvario district. Adopting an approach to the history of science similar to that used towards art history for the Pinacoteca Agnelli, Uklański relates the anatomical collection of the Museum to a group of works that refer to human corporeality and the symbolism of blood. At the Museum of Fruit, characterized by hundreds of wax reproductions of different species and types of apples, pears, tubers, and vegetables created by the botanist Francesco Garnier Valletti, the three-dimensional representations of fruit varieties enter into dialogue with Uklański's still lifes, in turn ghosts of paintings that can now only be imagined.