Subtle shifts in meaning, little distractions or maniac repetitions characterise a pseudo-normal life that translates intentional acts in unintentional gestures. A sort of constraint of repetition rules the dynamics of daily life. Only a thin line separates the unintentional from the at least implicitly wanted accident; fortuity from imputability.
Even if art cannot menace a difficult to trace orthodoxy with unclear canons, it often chooses to make danger the subject of representation – maybe with the intent to document how the art of living makes us constantly face risky situations. Thin Line does not intend to express a catastrophic idea of danger, it rather illustrates those recurrent situations of alarm, often wrongly considered to be accidental, unpredictable, totally fortuitous. To cross with the red light nearly becomes metaphor for a constant challenge, an involuntary taking of a position; the portrait of a grey cloud turns out to be a prediction that needs interpretations.
The thin line is between the total non-imputability and the premonition of the risk that one chooses to take. If in the first case the idea of challenge is completely absent, in the second it urges us to experiment situations of menace, nearly because of an arrogance that makes us not accept our limits – physical as well as psychical – and thus recognise our responsibilities.
Through works by Giona Bernardi, Sergio Breviario, Valerio Carrubba, Nemanja Cvjianovic, Giovanni De Lazzari, Elenia Depedro, Andrea Galvani, Nicola Gobbetto, Giovanni Kronenberg, Gino Lucente, Fabio Palmieri, Paolo Piscitelli, Marinella Senatore and Matteo Tontini, Thin Line intends to light the light of consciousness, which is not only knowledge but also judgement. Through obsessive repetitions, fragile balances, sentimental traps, incautious distractions, childish games and disturbing silences the show will offer the opportunity to recognise and read signs of those repeated alarms that often go unobserved.
Michela Sena on Nicola Gobbetto
Nicola Gobbetto’s work has got a pleasant surface, which in the first place approaches you delicately. However, beware of using the words “gentle”, “playful”, “graceful” when describing it! The artist is very keen on emphasising that this way one risks to distort the real substance of his work. The heart of his work is in fact exactly in the tragic element that violently emerges from his - only apparently inoffensive – images.He is not interested in telling a story. He rather concentrates his work on a single moment and, precisely, on the point in which the dramatic aspect of a given event reaches its climax.