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Nemanja Cvijanovic, Pago la luce 2


Elenia Depedro, Autoritratto a 2 metri e settanta


Giona Bernardi

Thin Line


Giona Bernardi presented by Camilla Seibezzi
Nemanja Cvijanovic presented by Marco Altavilla
Elenia Depedro presented by Simone Menegoi


curated by Milovan Farronato

April 28 - May 20, 2005

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.

Marco Altavilla on Nemanja Cvijanovic
Nemanja Cvijanovic gives 20th century utopias a sarcastic requiem. He takes the symbols of Eastern European recent history, or more generally, from the history of Communism, which are already sedimented in the collective imaginary, and lets them undergo a critical examination and a new elaboration in mnemonic key. Cvijanovic literally dismantles communist iconography by putting various images and media side by side, with a strong synthetic attitude, close to collage. The process that comes to life is half way between ideological disillusion and flea-market fetishism, between merciless cynicism and excessive homages to icons of our times. A process that does not dry up with a more or less direct political criticism, but aims at enlarging its sense, by conceptually extending the history in relation to contemporary artistic practice.


With the support of Comune di Milano - Settore Tempo Libero


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last update 12-10-2011