The exhibition presents the work by Paolo Canevari, one of the most internationally renowned Italian artists, known for his use of diverse materials and art forms—including drawing, video, sculpture, installation, and performance.
The artist employs common, easily recognizable objects and symbols to comment on—and often deconstruct and critique—ideologies, religious beliefs, and political narratives, as well as the grand myths of progress and social happiness.

Having grown up immersed in contemporary avant-garde practices (Arte Povera, conceptual art, performance art) and trained in sculpture within his family, he has always been able to reinterpret classical, Renaissance, and modern art in a new light. This distinctive approach has enabled the artist to navigate the world with both theoretical and practical intelligence.
Canevari’s art confronts the viewer with harsh, tragic realities, conveying the fratricidal violence of our times without the rhetoric typical of the media—which are often complicit in distorting facts and images and manipulating the meaning of words. With a touch of lightness and irony, his works expose the cynicism of the economy and capital, as well as the destructive, oppressive nature of power—specifically the homogenizing force of ideology—while presenting the artwork as a material object that is both anxious and unsettling.

Reflections on violence, memory, and the mechanisms of control, segregation, and censorship pervading contemporary society take center stage through the use of humble and industrial materials—such as tire rubber, which becomes a metaphor for social conditions and the dangers arising from the exploitation of energy resources. Oil, its derivatives, and the automotive industry are placed under scrutiny; "black gold" stands as one of the most potent tools of geopolitical supremacy, a key factor in wealth and global dominance. The resource that is essential for progress today is also the very element capable of triggering wars and financial crises.

A prime example is the work titled Landscape: an American flag drapes over a pile of oil drums and tires, creating the appearance of a coffin. It is a powerful, striking reflection on the close link between that oily substance and American superpower status.
The exhibition’s title itself, God Year, is a play on the name of a famous tire manufacturer that evokes "the Year of the Lord", highlighting the fine line between the sacred and the profane, between peacemakers and purveyors of death, between progress and poverty, and between truth and false rhetoric.