Experimental Jetset is a graphic design studio founded in Amsterdam in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Their work focuses mainly on printed materials and site-specific installations, through a methodology aimed at «transforming language into objects», considering graphic design as a platform for «authorship».

One of the themes that has long been at the center of Experimental Jetset's research is the relationship between sign and city which, on the occasion of the exhibition at MACRO, results from the analysis of a specific Italian context: "radical design" and the relationships between avant-garde and Italian left. The title of the exhibition, AUTONOMIARTEPOVERARCHIZOOMEMPHISUPERSTUDIOPERAISM, halfway between a slogan and a magical spell, provocatively recalls some of the experiences and subjects at the center of this tradition. Experimental Jetset thus proposes the story of the "Italian sphere" through the analysis of two signs in particular, intrinsically linked to the city and the experience of crossing it. The first is a neon logo, or “non-logo”, which appears in a sequence of the film Blow-Up (1966) by Michelangelo Antonioni. Supported by an imposing metal scaffolding, this apparently enigmatic logo is meaningless in itself but acquires meaning during the film's narrative ("it is not important what the sign means, but only how it does it"). The second is the hammer and sickle deconstructed by Enzo Mari during several projects developed between 1954 and 1977 - a symbol strongly charged with meaning which is freed from its weight precisely through deconstruction ("the political is not contained in what it means the sign, but in how it means").

In this analysis, both Mari and Antonioni appear to have in common a certain rejection of neorealism, from which both progressively distance themselves to instead favor a commitment conveyed by linguistic research rather than explicit political messages. The same approach permeates the entire research and practice of Experimental Jetset.