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.
Andrea Viliani on Sergio Breviario
Breviary about a sort of Italian painting
In a happily improvised way, Sergio Breviario works on a sort of tended rope between portrait and landscape, verticality and horizontality, closeness and distance, painting and object, work of art and décor.
Two small-format pencil drawings on glossy paper, 26 by 19 cm each: On a sheet of paper, which looks white when the drawings are lifted from the working table and hang to the wall, the two-dimensional outlines of the sketched objects arise, consistent as environments seen from the distance, while the horizontal feature of the landscape draws up with the intimate verticality of the portrait.
This optical phenomenon is nothing else than an exercise of style. We admit, a certain kind of Italian contemporary painting is undeniably attracted by the exercise of style: sleight-of-hand, savoir faire that can change a landscape into a portrait, a figure into a background, small into large, real into imaginary, as well as sculpture or architecture or physics into… painting!
Marco Tagliafierro on Gino Lucente
The photographs that Gino Lucente uses as starting points for all his works – be it wall painting or installation – seem to be taken from famous movies, but you can never tell which ones. Maybe it is because of a sign-related concomitance that induces us to think of a high-budget movie: the characters seem actors par excellence, but they also could have come out from a B-movie that repeats and banalises some of its features. Sure is that these silhouettes reduced to thin lines cannot be of any help for us. They could also be photographs taken by paparazzi, whose subjects are nothing else than the famous actors. The work, anyway, seems to suggest to us that if our imagination leads us towards a particular movie, it is worthwhile to yield to it, reconstructing the following sequences, this time in Technicolor.
Ilaria Bonacossa on Marinella Senatore
Marinella Senatore does not work with space but with the idea of space, as well as the emotions and the memoirs bound to it. The work, characterised by a strong cinematographic imprinting, seems to evoke complex sets ready for the actors and the cameras to come. They are spaces constructed also thanks to a structured use of light.
The peculiarity of Marinella Senatore’s work is that it is able to evoke through minimal architectural interventions, a complex narrative structure that however remains completely open, developed in the spectator’s mind. The work seems to be built up like a short poem that captures an instant of light and shows the emotional temperature of a moment.