‘Diario Descompuesto’  Solo show by Michele Lorusso 

Showroom
September 3  -October 15, 2026

Diario Descompuesto, Michele Lorusso’s new exhibition at General Expenses, presents a body of site-specific works born from an ongoing visual and conceptual investigation begun in 2023. Traversing his professional trajectory across Mexico City, Los Angeles, Buenos Aires, Madrid, and Zurich, Lorusso has systematically gathered local newspapers only to deconstruct them into their most fundamental components: words and typography. Reaching for the analog tools of the blade and glue, Michele approaches the pulpy materiality of newsprint to dismantle it both physically and conceptually. Through the performative repetition of cutting and pasting, Lorusso devises dense, variegated compositions of letters and words on a two-dimensional plane, where layering creates an illusion of depth.

The initial outcome of this creative process consists of canvases measuring 150 x 120 cm and 120 x 90 cm, each dedicated to a single newspaper title tracked daily across a single month between 2023 and 2026. In this way, the geopolitical context and the news cycle become the primary framework of the composition, laying bare both the vantage point and the site of enunciation, alongside the immediacy of contemporary nostalgia. Our eyes drift over a formless sea of information—data presented without edges or contours, coalescing instead into a dense, impenetrable mass. This matter of "anti-truth" envelopes us in our singularity and isolates us. Amid such cacophony, we have never been more alone.

In the 61 x 38 cm works, Lorusso isolates the newspaper’s formal sections (politics, sports, tabloid sensationalism, crime blotters, economy, national, and international news) to investigate the visual diversity of the headlines themselves, giving physical form to the publication. A print newspaper—anchored to its 24-hour cycles and material medium—binds an event to a temporal horizon that is often far broader than today’s fleeting digital flash. The sculptural dimension and archival character emerge with greater force in this series, preserving the typographic and stylistic quirks of the newspapers collected by the artist.

Taken as a whole, the exhibition exposes one of the art object’s most formidable qualities: its physical thingness. By turning reality into metaphor and metaphor into an object, Michele’s work neutralizes that which slips between the abstract borders of thought, presenting it stripped bare. These typographic portraits possess a fetishistic, magical charge; they arm us with our own blades and wipe the dust from our eyes.

— Pablo Arredondo Vera