On December 12, 1981, the exhibition ORA! in which Francesca Alinovi involved thirteen young artists, showing their works according to the concept of transience, which united the different languages and visual outcomes. The element of fluidity between artistic genres, and especially the experimental and contingent aspect, highlighted a new way of conceiving an exhibition: a free event without the need to establish an influence for the following years. The principle of osmosis between categories and the centrality of the experience of young authors is what characterizes the activity of YAG/ Garage and the exhibition curated by Ivan D’Alberto, alongside the memory of the courageous project of Francesca Alinovi the production of ten artists who have freely left their work in the spaces of the gallery of Pescara. In ORA! come ALLORA | 1982 – 2022 the works alternate one another in dialogue with the other, while flowing tracks and pages in homage to the hic et nunc set up 40 years ago as a spin off of the emphatist experience.
Matteo Messori, “Formastante”, 2018, photo and courtesy G. Di Meo
At the center of the gallery dominates the installation Corpi (2018) by Martina Cioffi who, with its solid graphite geometries, seems to create a magnetic field that attracts the works around her, recalling shapes and patterns. Acme (2019) by Niccolò Masiero Sgrinzatto is in constant movement, stimulating the attention of the observer with its changes, breaking the static relationship with space and the conception of balance. The strong material contrast between the thin transparent glass and the hard stone by Matteo Messori, with Formastante (2018), underlines the physical state of the subject that, like the two elements of the work, undergoes mutations and transforms. The Antiforma (2018) is itself an investigation of the contemporary individual and his individual and collective events, manifesting their hardships. Iacopo Pinelli deepens this social condition by focusing on daily consumerism, presenting the Corpi defunzionali (2019) as an emblem of the restlessness in which we find ourselves. They are common objects made unrecognizable and depleted of their functionality, seemingly deformed, useless and meaningless, but actually loaded with a new meaning.
Iacopo Pinelli, “Corpi defunzionali”, 2019, photo and courtesy G. Di Meo
The ethereal colors and light signs of Alessandro Armento, with Espansione and Ancora (2017), slide flat towards the outside of the frame, towards the two illustrations by Marco Smacchia presenting Finisterre (2018) and Sulla precarietà (2019). We perceive here solid presences, but at the same time contained in an irrational and suspended dimension, a surreal time in which we wonder about human existence. The discovery of self is also central in the rapid movements of the protagonists of the video Choco late (2019) by Manuel Tatasciore, who struggle smiling in search of definition to sink, in the pressing final part of the sequence, in a desperate and bloody illusion.
Manuel Tatasciore, “Choco late”, video, screenshot, 2019, photo and courtesy the artist
On the opposite side emerge the paused volumes of Simone Di Girolamo who with the environmental sculpture Vinca il mare vinca il cielo (2017) describes the deep link between the dynamics of nature and those of human life, through the union of matter, chromatic and spiritual elements of natural and artificial. Inerte (2015) consolidates this union in a smoky cloud that engulfs man himself. Francesca De Marinis and Fabrizio Simone pierce the space with pop volumes that come out flashy from the white of the gallery, forcing the eye to approach to deepen the respectively shiny and transparent characteristics of Untitled (2020) and those opaque and brilliant 8hz (2018) of their sculptures.
Fabrizio Simone, “8Hz”, photo and courtesy G. Di Meo
Thanks to the punctuality of the exhibition and the words of Veronica Santi, curator, art critic and director of the film about Francesca Alinovi I Am Not Alone Anyway (2017), screened during the opening event of the exhibition, we can see the importance of the mixture of art-life and life-art, which characterizes the two appointments and the figures involved. Despite being distant in time, the two experiences confirm us how every artistic singularity, with its different nuances, plays an important role in the perception of the total, as readings of an ephemeral contemporaneity that becomes ceaselessly, and on which it is necessary to continue to investigate, as Francesca Alinovi reminded us with her active and present lightness.
Cecilia Buccioni
Info:
ORA! come ALLORA | 1982 – 2022
17/12/2022 – 28/01/2023
YAG/Garage, Pescara
After graduating in Cultural Heritage, she moved to Milan and finished her studies at the IULM University, where she specializes in contemporary art and communication. She currently lives in Pescara and works in a cultural association, collaborates with an art gallery and is a contributor for Juliet Art Magazine and Rivista Segno. She is in constant exploration of the artistic contemporaneity and its multiple readings.
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