Careof and Viafarini are pleased to announce the inauguration of their new exhibition spaces at Fabbrica del Vapore with a common exhibition dedicated to Liliana Moro, international artist particularly bound to the city of Milan. Moro not only was born in Milan, she still lives and works there, too. Before participating to the 45th Venice Biennale in 1993 and to Documenta IX in Kassel in 1992 (besides an important series of solo and group shows at prestigious institutions worldwide, among them Castello di Rivoli in 1994, Moderna Museet in Stockholm in 1998, Stichting De Appel in Amsterdam in 1999 and CCA Wattis Institute for Contemporary Art in San Francisco in 2005), the artist has been one of the leading spirits for one of the city’s most flourishing cultural seasons: together with a group of artists—not a mere collective, rather a shared experience of growth and exchange of ideas—she founded the magazine Tiracorrendo and the artist-run space of via Lazzaro Palazzi. In addition, Liliana Moro supported the two organizations that now start with her this new challenging undertaking since their beginnings: she designed the poster chosen by Viafarini in 1991 to represent the newborn organization; she had a solo show at Careof in 1997, in the historic space in Cusano Milanino, in the outskirts of Milan.
The solo show by Liliana Moro curated by Milovan Farronato for Careof’s and viafarini’s new exhibition spaces was made possible by the valuable collaboration with Vibrapac. This Is the End, provocative title chosen by Liliana Moro to evoke an end and a new beginning at the same time, gathers in a raw and minimal architecture—designed by the artist with the building materials and know how provided by Vibrapac—a series of early sculptures and new installations, well-known and unseen. A selection not intended to give a retrospective view on the decennial career of the artist, but rather offering a special perspective and a particular interpretative horizon on her work.
Careof and Viafarini offered Liliana Moro a neutral space, not yet divided into the two halls that will host the respective exhibition programs. Vibrapac allowed her to create a structure, work of art and mechanism for display, image of the itinerary it designs and of the works it encloses. Content and container, significatum and signifier in a calibrated mixture, orchestrated ad unisonum.
Walls with sharp corners leave undefined perimeters, but enclose rooms which sometimes are accessible, sometimes not. They draw a clean structure, a sculpture in itself, providing the environment for the uncertain visitors moving around and for the five works coming into sight: sculptures, installations and a neon writing, in an even, but unpredictable, game of balance focusing around an ideal center. Dispersion and concentration, inside and outside, light and sound suggestions, ambiguous simulacra and mechanisms gone wild are the main ingredients.
The wall itself acquires a symbolic role, and turns from simple architectural element into quotation with multiple meanings. It is the image of the many obstacles that we run up against; it is the barrier to overcome if we want to go beyond and discover what is on the other side; it is the limit which we have to deal with in everyday life; the internal and external filter, the shell that protects us from the world or the screen that prevents us from communicating with the outside.