A occhi chiusi, gli occhi sono straordinariamente aperti

Curated by Luca Lo Pinto


This exhibition project, whose title echoes a phrase by Merisa Merz, brings together a series of works ‒ some brand new, others already produced ‒ by artists of different styles, ages and approaches. All these pieces share their powerful suggestion of a visual and narrative landscape from which a personal way of looking at the world emerges, which is both singular and universal. This scenario is confronted with the trauma of history performed through images, sounds, objects and sculptures that speak a labyrinthine, allegorical and metaphorical language within our present.

Time, memory and identity in continuous metamorphosis, brought into question in the relationship of the individual with society. Works like splinters of an imaginary, ephemeral icon, which symbolically indicate a

possible, fleeting portrayal of the approaches of a certain present-day Italian art.

The bulb out of which the exhibition unfurls is an object. A small fragment of painted glass with words written on it by the brush of Emilio Villa. We can see that the words are in Greek, but they are almost illegible. Being unable to decode the meaning of the words, we can still read them as an image. Villa’s fragment is a trace, a complex sign to be interpreted, included in a history in which it is difficult to understand where to position oneself. The exhibition, and the works that comprise it, should not be considered a tool for illustrating a theory but a subject to be explored in an ongoing process of associations and disassociations. An archaeological find from the present that encompasses a medley of identity, personality and stories in movement. The protagonists are works where the words can change into images and vice versa, in which the objects can speak. Unstable forms that change into others like the captions of a story that unfolds before the eyes and minds of spectators, giving them the opportunity to mark out its plot. Living languages that can communicate with the experience evoked by the place where they are talking. The exhibition is conceived as a vision device in which all the works, curled up like hedgehogs, can slowly open out to see the light and look into the eyes of the spectators.The works on display show all the signs of a lived experience. The bodies that have lent against Martino Gamper’s back rests. The mark of Emilio Villa left by a brush on glass. The images reflected in the surfaces of the sculptures by Nicola Martini. The memory of Giorgio Andreottà Calò ripped from the skin of the polaroids. Roberto Cuoghi’s dreamlike civilization of Pazazu. Visitors to the 1966 Quadriennale evoked in the images by Rä di Martino. Urban landscapes translated in the sounds of Stargate.


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