«Il candore sospende il tempo.
Dietro la soglia abbandonata scorre il flusso degli spiriti,
solo la luce filtra in pieghe morbide.
Il vociare fluttua nell’aria».
(Annika Pettini, AB ÉSSE. Excerpt from the poem inspired by the concept of the exhibition)
How can one narrate the desire to grasp the unknown, that morbid curiosity that for centuries has driven us to attempt the impossible, to cross boundaries, even when we are clearly not invited? How can one describe the delicacy of light that, instead, impertinently seeps even through tiny holes, and rests softly on every surface? Simona Pavoni has managed to do it, with an enchanting grace that distinguishes her work.
Simona Pavoni, “Tenda”, dettaglio, installation view at Ex Maglierie Mirella, Milano, in “Buone maniere”, courtesy of the artist
Good Manners – like those that should be observed before crossing a threshold without permission – is the title of her new solo exhibition, set in an ancient perimeter: the former Maglierie Mirella, along the Martesana canal, in Milan. As often happens in Pavoni’s style, the space and the artwork coincide, in the sense that the artist works on it as if she had a body in her hands to mold, always with absolute respect. The desire is to accompany people within a path, postponing the arrival at the thematic core as much as possible, hiding but revealing, like in a choreography. So, at first, the volumes of the street-facing windows symmetrically receive us with Pori, the first communication channel that indicates an access route and like the pores of the skin, they welcome or repel, depending on the case, even before the internal membranes. In this case, the work is highly symbolic, centered on transparency and on the mimetic disappearance effect, between visible and invisible.
Simona Pavoni, “Il branco”, dettaglio, installation view at Ex Maglierie Mirella, Milano, in “Buone maniere”, courtesy of the artist
After passing this first access, one gets the impression of finding a new barrier: Il branco, in fact, is a work made with carefully groomed dog hair, juxtaposed almost to form a tapestry that stands before our eyes as if it had been placed to protect a sacred place. At this point, one spontaneously wonders if the dogs’ attitude towards us is more of faithful recognition, like in the case of Argos after his beloved Odysseus’ long wanderings, or a threatening obstacle akin to Cerberus along the descent into Hades. But then we remember that we are about to enter a place that was once wrapped in embroidery, yarns, skeins, and the dogs’ chiaroscuro coats once again enhance the softness of an encounter.
Simona Pavoni, “Buone maniere” at Ex Maglierie Mirella, Milano, azione performativa, courtesy of the artist
Crossing the small wooden door, once again, welcome and diffidence chase each other, in a game of slightly ajar thresholds leading to other not immediately visible entrances. In a familiar atmosphere that simultaneously disorients, we immediately notice the large, very light and floating paper curtains, which however shield from our prying eyes, who knows what other spaces. The backdrops mark the scene, delaying the understanding of the real limits, in a succession of attraction and frustration. Meanwhile, from upstairs, the rustle of nervous fingers along the handrail marks the time, adding a subtle state of anguish of being specially observed. Air and light mix in the performative action and it almost seems that at any moment our curiosity might be irreparably suppressed.
Simona Pavoni, “Intimo”, installation view at Ex Maglierie Mirella, Milano, in “Buone maniere”, courtesy of the artist
The lingerie and accessories hung in the fitting room or displayed in plain sight seem forgotten in a timeless suspension. In any case, if one really wanted to wear them, it would be necessary to treat them with extreme delicacy, as the tempered glass could shatter at any moment. Simona Pavoni invites us once again with impalpable candor to reflect on the importance of respecting sensitivity, boundaries and personal spaces: it is necessary to choose moments and words carefully, without imposing or overwhelming thresholds. Her investigation focuses on the body, the intimacy of relationships, and memory, and in this case, a greater effort of listening is required from those who enter through the small wooden door.
Giulia Russo
Info:
Simona Pavoni. Buone maniere
EMM / Ex Maglierie Mirella
Via Ponte Nuovo, 2, 20128, Milano
14/06/2024 – 24/07/2024
EMM/ Ex Maglierie Mirella
Giulia Russo is an author and digital editorial assistant for Juliet, with whom she has collaborated since 2017. More recently she has been a contributing editor on cultural themes for various magazines, with critical insights, dedicated to emerging artists and the new frontiers of contemporaneity. Graduated in Art History at La Sapienza University of Rome, she specialized in Visual Cultures and curatorial practices at the Brera Academy of Fine Arts. Based in Milan, with some fleeting forays into Tiber, she loves listening to stories that she occasionally rewrites
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