A moment of reflection
Filippo Centenari Emanuela Fiorelli Federica Luzzi Marina Paris Paolo Radi
Curated by Antonello Tolve
24th October – 12th December 2020
Saturday, October 24th, 2020, from 11.30 a.m. *
Galleria Paola Verrengia is pleased to announce A moment of reflection, a collective exhibition that aims to be an opportunity to reconsider the places of everyday life through the work of five Italian artists – Filippo Centenari, Emanuela Fiorelli, Federica Luzzi, Marina Paris, Paolo Radi.
In a dialogue with the gallery environments and therefore with the space intended as a convivial area, the works chosen indicate an essential common path, an indispensable research that if on the one hand focuses on the exclusivity of Italian art, on the other aims to build a visual (emotional) atmosphere made of works that dialogue with the space to make space and weave the allegorical foundations of a new, happy social horizon. During November the curator Antonello Tolve will have meetings with the artists to discuss their work and the reasons for the exhibition.
“By playing with a series of tensions that generate optical vertigo and lively kineticism, Emanuela Fiorelli (Rome, 1970) moves from the idea of the link and surfactant participation between fictitious and real (point of contact between angular coefficient and elastic vitality, according to Hooke’s law) to create constructive bridges, forms of adherence that indicate retained energy (ut tensio, sic vis), to force that shape and convert resistance into aesthetic value, in a complex image, seductively penetrable, fluid and ideal.
The aesthetic tear that distinguishes the photographic collages of Marina Paris (Sassoferrato, 1965) invites the artist to meditate on the perfection of lack and absence, as well as on the concept of ruin, more markedly present in a photograph of the series Under Construction (2014-2017) where the artist shows a dilapidated architectural habitat photographed shortly before the renovation, to transform the shot into a visual document, a radiant memory of what has been and will never be again.
Compacted in instants that preserve all “the secrets of translucency” (Sannazzaro), the temporal-spatial processes proposed by Paolo Radi (Rome, 1966), entrusted to a safe and liquid plasticity of the material, emanate a certain brightness. They are extrovert and open to the viewer with annular embraces to transmit abyssal silences and sidereal shelters through a refined and clearly visible preciousness that puts the evil of living in check through its perfect formal values.
Federica Luzzi’s knotting (Rome 1970) get birth from a grammatical analysis of organic structures (seeds, shells, branches). Its interweaving manifests a state of calm, a procedural slowness that coincides with the time of the human reflection. It recalls markedly the mysterious image of the spiral, symbol of the universe, opening to a centrifugal power that has in itself the unstoppable flow of events and that, in Luzzi’s case, rejoins in a perennial act of creation, expansion, suspension, waiting.
With some works of the series Iperuranio (2019) Filippo Centenari (Cremona, 1978) finally converts the sense of emptiness into a shred of sky, in an emotionally open and welcoming place, in a platonic world made of ideas, far from any physicality and therefore perfectly mental. He also wrote the neon sign Sopravvivere (2018), to which the artist removes the first syllables to transform the intransitive verb “to survive” (synonym of escape from danger or misfortune) intothe noun “to live”, interpreted in the economy of the exhibition, how to be in the world and as heideggerian “being-in-the-world” (In-der Welt-sein), as “being-present in a present thing”, as “being situated” in a non-spatial but existential sense, as an individual person-creature participating in the things of all”. (Antonello Tolve).
* In compliance with the regulations in force, the public is invited to book in order to allow entry of 6 people at a time, to wear the mask and use hand disinfectant.