Neither Nor (@milovanfarronato)

Curator Italian Pavilion @labiennale
Director & Curator @fiorucciartrust
Posts co-edited w/@matildecerrutiquara @stellabottai @lavinia.filippi

189 posts
11.4K followers
2.1K following
189 posts
11.4K followers
following
A hypertrophic, crowded urban entanglement. Meet Matera, with its many flights of steps, leading up and down, the many windows set in the walls of its houses carved out of the rock. Visceral, vibrant, concocted yet demure, treasuring its secrets as its structure merges with the natural landscape of Basilicata. One of the most ancient, continually inhabited cities of the world, its current area was settled in the Paleolithic period, and throughout the course of history Matera was sieged by the Goths, the Longobards, the Byzantine, and the Saracens amidst others. An entanglement below whose surface exists a parallel realm, made of water channels and cisterns gathering the precious liquid from both rain and aquifers: the biggest one, Palombaro Lungo, has a capacity of 5 millions litres and was dug by hand. Matera exists, lives, breathes. It is not an "invisible city", as fantasised by Italo Calvino, but what if it was? Would it be Eudoxia, which spreads both upward and down, with winding alleys, steps, dead ends, hovels? Or Zaira, city of high bastions with its streets rising like stairways, and the arcades' curves, and zinc scales covering the roofs? We can only but imagine his answer: “With cities, it is as with dreams: everything imaginable can be dreamed [...] You take delight not in a city's seven or seventy wonders, but in the answer it gives to a question of yours.” 📸 @giovannamuzzisilva @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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A hypertrophic, crowded urban entanglement. Meet Matera, with its many flights of steps, leading up and down, the many windows set in the walls of its houses carved out of the rock. Visceral, vibrant, concocted yet demure, treasuring its secrets as its structure merges with the natural landscape of Basilicata. One of the most ancient, continually inhabited cities of the world, its current area was settled in the Paleolithic period, and throughout the course of history Matera was sieged by the Goths, the Longobards, the Byzantine, and the Saracens amidst others. An entanglement below whose surface exists a parallel realm, made of water channels and cisterns gathering the precious liquid from both rain and aquifers: the biggest one, Palombaro Lungo, has a capacity of 5 millions litres and was dug by hand. Matera exists, lives, breathes. It is not an "invisible city", as fantasised by Italo Calvino, but what if it was? Would it be Eudoxia, which spreads both upward and down, with winding alleys, steps, dead ends, hovels? Or Zaira, city of high bastions with its streets rising like stairways, and the arcades' curves, and zinc scales covering the roofs? We can only but imagine his answer: “With cities, it is as with dreams: everything imaginable can be dreamed [...] You take delight not in a city's seven or seventy wonders, but in the answer it gives to a question of yours.” 📸 @giovannamuzzisilva @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
Cast away from the labyrinth to the cover of @dustmagazine by the powerful gaze of @csopie my alter ego vividly stands against the blurred periwinkle peaks of an enigmatic mountain chain in totale @gucci FW 19/20 @alessandro_michele cardinal red, a propitious and mystical colour. On occasion of her first time not using a monochrome backdrop, Opie had me posing like a nouvelle Rrose Sélavy, hands interlaced on my chest as in the notable portrait of Marcel Duchamp, eyes captured by the imaginary line of the horizon, ready to give in and let go. The mundane is removed to find its place into the metaphysical. Ashes to ashes. Dust to dust. ✍🏽 @mattruffalo #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Cast away from the labyrinth to the cover of @dustmagazine by the powerful gaze of @csopie my alter ego vividly stands against the blurred periwinkle peaks of an enigmatic mountain chain in totale @gucci FW 19/20 @alessandro_michele cardinal red, a propitious and mystical colour. On occasion of her first time not using a monochrome backdrop, Opie had me posing like a nouvelle Rrose Sélavy, hands interlaced on my chest as in the notable portrait of Marcel Duchamp, eyes captured by the imaginary line of the horizon, ready to give in and let go. The mundane is removed to find its place into the metaphysical. Ashes to ashes. Dust to dust. ✍🏽 @mattruffalo  #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Purple rain, purple rain? Or Mary Poppins? Neither up nor down, I was captured somewhere in between sky and earth by @wmag at the @fiorucciartrust HQ. #KatharinaFritsch umbrella and #FranzWest table provided the cardinal points of an imaginary flight, echoed by the endless possibilities of ascent and descent of the Le Corbusier stairway in the backdrop, leading elsewhere and nowhere. Thank you #ChristopherBagley for the write-up and @tung_walsh for the 📸 full article on wmagazine.com #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Purple rain, purple rain? Or Mary Poppins? Neither up nor down, I was captured somewhere in between sky and earth by @wmag at the @fiorucciartrust HQ. #KatharinaFritsch umbrella and #FranzWest table provided the cardinal points of an imaginary flight, echoed by the endless possibilities of ascent and descent of the Le Corbusier stairway in the backdrop, leading elsewhere and nowhere. Thank you #ChristopherBagley for the write-up and @tung_walsh for the 📸 full article on wmagazine.com #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
Saudade and nostalgia. All passion replaced by its languid aftermath. I feel breathless like a contemporary Katharine Hepburn in “Summertime”, left alone to contemplate the hypothesis of a splash in the briny viridian waters. A cathartic plunge would do for that damnatio memoriae I’m intensely wishing for, to recover from all the swirling emotions of the past week and to bear, endure and overcome the sense of abandonment lingering after people left. Yet even if I would like to embrace the peaceful absent-mindedness of amnesia, I won’t and this won’t be a farewell. No definitive separation, rather a slight detachment from a daily routine. Similarly, Neither Nor will continue its transmissions here all the way to November: more passions to be savoured, more pathways, perspectives and endeavours hiding behind a curtain, a mirror, a turn in intentions and intuitions. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Saudade and nostalgia. All passion replaced by its languid aftermath. I feel breathless like a contemporary Katharine Hepburn in “Summertime”, left alone to contemplate the hypothesis of a splash in the briny viridian waters. A cathartic plunge would do for that damnatio memoriae I’m intensely wishing for, to recover from all the swirling emotions of the past week and to bear, endure and overcome the sense of abandonment lingering after people left. Yet even if I would like to embrace the peaceful absent-mindedness of amnesia, I won’t and this won’t be a farewell. No definitive separation, rather a slight detachment from a daily routine. Similarly, Neither Nor will continue its transmissions here all the way to November: more passions to be savoured, more pathways, perspectives and endeavours hiding behind a curtain, a mirror, a turn in intentions and intuitions. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
A diminishing succession of consonants, some of which have been struck through. Stalactites and stalagmites populated of lines and letters, invocations from Peter J. Carroll’s version of the ‘Mass of Chaos’, words and symbols leading, or mis-leading, through the journey from the origin of desire to the creation of a sigil. ‘This last line cannot be translated’ is a posthumous work by Chiara Fumai sinuously unfolding along the walls of our labyrinth, intertwining symbolism from the esoteric tradition with ideograms she created, to accompany and encompass all neighbouring presences. What letters might it contain? What desire might it express? A glimpse in the mirror, the memory of a seed subtly planted in the unconscious to change the conscious reality. The fragment of a wall used as a white page for the creation of an all-enveloping vision, as enigmatic, charismatic and powerful as the mystical environment of the cave of the Sybil. An indispensable atmosphere for in order to activate a sigil one must enter a state of perfect, imperturbable concentration, that is ‘gnosis’, and only then it is possible to draw all energies towards the achievement of one specific mission. For Chiara, the sigils encrypted in this work respectively represented the will to subvert patriarchal hierarchies and the desire to obtain the Necronomicon, the grimoire cited by horror writer Howard Phillips Lovecraft. A visible testimony of what has happened, what is happening, and what is going to happen. The absence of a way out as the true essence of human condition. The labyrinth as an hermetic symbol, as an essence not to be translated, but to be transcribed. Not to be traversed but transmitted and if necessary, where the right key can be found to the proper lock, interpreted. 📸 @delfino_sl @_marcocappelletti ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
Neither Nor: The challenge to the Labyrinth
Italian Pavilion
58th International Art Exhibition - La Biennale di Venezia 
Photography Delfino Sisto Legnani and Marco Cappelletti
Courtesy DGAAP-MiBAC ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @dg_aap
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A diminishing succession of consonants, some of which have been struck through. Stalactites and stalagmites populated of lines and letters, invocations from Peter J. Carroll’s version of the ‘Mass of Chaos’, words and symbols leading, or mis-leading, through the journey from the origin of desire to the creation of a sigil. ‘This last line cannot be translated’ is a posthumous work by Chiara Fumai sinuously unfolding along the walls of our labyrinth, intertwining symbolism from the esoteric tradition with ideograms she created, to accompany and encompass all neighbouring presences. What letters might it contain? What desire might it express? A glimpse in the mirror, the memory of a seed subtly planted in the unconscious to change the conscious reality. The fragment of a wall used as a white page for the creation of an all-enveloping vision, as enigmatic, charismatic and powerful as the mystical environment of the cave of the Sybil. An indispensable atmosphere for in order to activate a sigil one must enter a state of perfect, imperturbable concentration, that is ‘gnosis’, and only then it is possible to draw all energies towards the achievement of one specific mission. For Chiara, the sigils encrypted in this work respectively represented the will to subvert patriarchal hierarchies and the desire to obtain the Necronomicon, the grimoire cited by horror writer Howard Phillips Lovecraft. A visible testimony of what has happened, what is happening, and what is going to happen. The absence of a way out as the true essence of human condition. The labyrinth as an hermetic symbol, as an essence not to be translated, but to be transcribed. Not to be traversed but transmitted and if necessary, where the right key can be found to the proper lock, interpreted. 📸 @delfino_sl @_marcocappelletti ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
Neither Nor: The challenge to the Labyrinth
Italian Pavilion
58th International Art Exhibition - La Biennale di Venezia
Photography Delfino Sisto Legnani and Marco Cappelletti
Courtesy DGAAP-MiBAC ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @dg_aap
All Out (Fuori Tutto). Release. Express. Do not hide. The strength is in the exposure. The creatures that populate Enrico’s sculptural and pictorial world are resigned. Not sad. Not gloomy. They present themselves in uncertain, sometimes even indecent postures. Per vas nefandum: they are not even ashamed to display their own sphincters in close-up. They crouch as if pretending to be something other than themselves. Their limbs elongate. Their organs dilate. They are continually eavesdropping. They even touch the ground with their faces, resting on them, constantly seeking points of support between them and the world that surrounds them. Have they given in? Not necessarily. Their resignation does not provide for surrender. They might even remind the pose of the ancient Egyptian goddess of the sky Nut, envisioned as a nude woman arching over the earth, embodying the planet in her belly, her body covered by the stars. During the day celestial bodies would make their way across her body. At dusk, she would ingest and digest them, returning them to a new life after the night, in the morning light. For this reason, Nut was also seen as a protective deity for the dead. For David’s creatures, Heisenberg’s uncertainty principle holds true, there is no cause and effect. Taken to the limit, they overcome everything, precisely because they have decided to present an appearance reduced to its lowest terms. This is their way out, their deliverance. Their salvation. The only redemption. There is no provision for passive resistance. Hostility is denied. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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All Out (Fuori Tutto). Release. Express. Do not hide. The strength is in the exposure. The creatures that populate Enrico’s sculptural and pictorial world are resigned. Not sad. Not gloomy. They present themselves in uncertain, sometimes even indecent postures. Per vas nefandum: they are not even ashamed to display their own sphincters in close-up. They crouch as if pretending to be something other than themselves. Their limbs elongate. Their organs dilate. They are continually eavesdropping. They even touch the ground with their faces, resting on them, constantly seeking points of support between them and the world that surrounds them. Have they given in? Not necessarily. Their resignation does not provide for surrender. They might even remind the pose of the ancient Egyptian goddess of the sky Nut, envisioned as a nude woman arching over the earth, embodying the planet in her belly, her body covered by the stars. During the day celestial bodies would make their way across her body. At dusk, she would ingest and digest them, returning them to a new life after the night, in the morning light. For this reason, Nut was also seen as a protective deity for the dead. For David’s creatures, Heisenberg’s uncertainty principle holds true, there is no cause and effect. Taken to the limit, they overcome everything, precisely because they have decided to present an appearance reduced to its lowest terms. This is their way out, their deliverance. Their salvation. The only redemption. There is no provision for passive resistance. Hostility is denied. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Tightly bound in the dim light of a dead-end for one last tango. All the lovers united, engulfed in a passion intensely enveloping, consuming, ferocious. The inescapable communion of body and soul, delicate and ethereal, urgent and constricting. Mirror one another or bounce against each other. Ageing together. It is in a cul-de-sac that we find one of the most stirring moments of the labyrinth: Liliana Moro’s ‘Avvinghiatissimi’ (Tightly Bound, 1992), which consists of two foam mattresses tied with red straps to a single bed, propped against a wall. In the background the echo of a heart-rending tango by Astor Piazzolla, ‘Sur: Regreso Al Amor’. The climax of the music hypnotic like a spell, a small arched passage opening towards something else, the end as a new beginning, overshadowed in the distance. 📸 @delfino_sl @_marcocappelletti ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
Neither Nor: The challenge to the Labyrinth
Italian Pavilion
58th International Art Exhibition - La Biennale di Venezia 
Photography Delfino Sisto Legnani and Marco Cappelletti
Courtesy DGAAP-MiBAC ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Tightly bound in the dim light of a dead-end for one last tango. All the lovers united, engulfed in a passion intensely enveloping, consuming, ferocious. The inescapable communion of body and soul, delicate and ethereal, urgent and constricting. Mirror one another or bounce against each other. Ageing together. It is in a cul-de-sac that we find one of the most stirring moments of the labyrinth: Liliana Moro’s ‘Avvinghiatissimi’ (Tightly Bound, 1992), which consists of two foam mattresses tied with red straps to a single bed, propped against a wall. In the background the echo of a heart-rending tango by Astor Piazzolla, ‘Sur: Regreso Al Amor’. The climax of the music hypnotic like a spell, a small arched passage opening towards something else, the end as a new beginning, overshadowed in the distance. 📸 @delfino_sl @_marcocappelletti ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
Neither Nor: The challenge to the Labyrinth
Italian Pavilion
58th International Art Exhibition - La Biennale di Venezia
Photography Delfino Sisto Legnani and Marco Cappelletti
Courtesy DGAAP-MiBAC ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
“What will my redeemer be like? I ask myself. Will he be a bull or a man? Or will he be like me?” The morning sun reverberated from the bronze sword. There was no longer even a vestige of blood. “Would you believe it, Ariadne?” said Theseus. “The Minotaur scarcely defended himself”. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
In Jorge Luis Borges’ rendition of the story of Asterion, the Minotaur is so saddened by the reaction that human beings had to his appearance that it goes into seclusion, waiting for a saviour to liberate him from his suffering, solitary and boring condition in the labyrinth of Cnossos. Together with Chiara’s presences, Enrico’s hybrid creatures and the inmates who became part of Liliana’s installation many more are the misunderstood characters, the stream of “monsters”, or we’d rather say “sisters”, whose stories were too often narrated through the gaze of those who contributed to their defeat. Like Medea who in Ovid’s ‘Metamorphoses’ becomes a witch to extend the life of Jason’s father, so that her husband doesn’t have to sacrifice any year of his own. Or the sirens, who only in Kafka’s novel can finally offer their own perspective on Ulysses—revealing it was them who decided to stay silent. Or Maleficent, who hides away in yet another dimension, outcasting herself, seeking refuge in her own horrific forest from her former lover Stefan, who betrayed her to gain the throne. The list could go on... but let’s come back to Venice, and specifically, to San Giorgio Maggiore Island. Hidden in the monumental complex that hosts @fondazionegcini, the Labyrinth of Borges is dedicated to the incredible mastery of the Argentinian writer, the greatest labyrinthologist of his times, who could even envision a maze in a desert. A homage to all the possible, manifold hues of perception, and perspectives. 📸 by @giovannamuzzisilva @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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“What will my redeemer be like? I ask myself. Will he be a bull or a man? Or will he be like me?” The morning sun reverberated from the bronze sword. There was no longer even a vestige of blood. “Would you believe it, Ariadne?” said Theseus. “The Minotaur scarcely defended himself”. ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
In Jorge Luis Borges’ rendition of the story of Asterion, the Minotaur is so saddened by the reaction that human beings had to his appearance that it goes into seclusion, waiting for a saviour to liberate him from his suffering, solitary and boring condition in the labyrinth of Cnossos. Together with Chiara’s presences, Enrico’s hybrid creatures and the inmates who became part of Liliana’s installation many more are the misunderstood characters, the stream of “monsters”, or we’d rather say “sisters”, whose stories were too often narrated through the gaze of those who contributed to their defeat. Like Medea who in Ovid’s ‘Metamorphoses’ becomes a witch to extend the life of Jason’s father, so that her husband doesn’t have to sacrifice any year of his own. Or the sirens, who only in Kafka’s novel can finally offer their own perspective on Ulysses—revealing it was them who decided to stay silent. Or Maleficent, who hides away in yet another dimension, outcasting herself, seeking refuge in her own horrific forest from her former lover Stefan, who betrayed her to gain the throne. The list could go on... but let’s come back to Venice, and specifically, to San Giorgio Maggiore Island. Hidden in the monumental complex that hosts @fondazionegcini , the Labyrinth of Borges is dedicated to the incredible mastery of the Argentinian writer, the greatest labyrinthologist of his times, who could even envision a maze in a desert. A homage to all the possible, manifold hues of perception, and perspectives. 📸 by @giovannamuzzisilva @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
The thresholds of our labyrinth are ready to be crossed. Let your instinct guide you without hesitation, pick one of the various possible ways, penetrate it, meander along. Role-playings are interwoven, positions constantly reversed and reversing. Be ready to follow an irrational curiosity, an inexplicably intriguing glimpse through narrow openings, oversize spirals, symmetrical gates leading into one another. From the left to the right, from a height into a well, let your gaze wander, advance and retrace your movements, keep an open mind. 📸 @delfino_sl @_marcocappelletti ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
Neither Nor: The challenge to the Labyrinth
Italian Pavilion
58th International Art Exhibition - La Biennale di Venezia 
Photography Delfino Sisto Legnani and Marco Cappelletti
Courtesy DGAAP-MiBAC ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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The thresholds of our labyrinth are ready to be crossed. Let your instinct guide you without hesitation, pick one of the various possible ways, penetrate it, meander along. Role-playings are interwoven, positions constantly reversed and reversing. Be ready to follow an irrational curiosity, an inexplicably intriguing glimpse through narrow openings, oversize spirals, symmetrical gates leading into one another. From the left to the right, from a height into a well, let your gaze wander, advance and retrace your movements, keep an open mind. 📸 @delfino_sl @_marcocappelletti ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
Neither Nor: The challenge to the Labyrinth
Italian Pavilion
58th International Art Exhibition - La Biennale di Venezia
Photography Delfino Sisto Legnani and Marco Cappelletti
Courtesy DGAAP-MiBAC ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
#padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
Staring at the camera, ready to face the challenge?! As in the words of @nicoletta_fiorucci_london who gave a beautiful toast tonight, there are many things that could be said about our relationship with Enrico, Liliana and Chiara—whose presence will always stay with us—and our connection with their work. But all that matters tonight is for me to express my gratitude to the four of them: the ideal embodiment of all the hues and contradictions the labyrinth of life could ever contain. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Staring at the camera, ready to face the challenge?! As in the words of @nicoletta_fiorucci_london who gave a beautiful toast tonight, there are many things that could be said about our relationship with Enrico, Liliana and Chiara—whose presence will always stay with us—and our connection with their work. But all that matters tonight is for me to express my gratitude to the four of them: the ideal embodiment of all the hues and contradictions the labyrinth of life could ever contain. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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"Although very different from each other Enrico David, Chiara Fumai and Liliana Moro seem to share a taste for affabulation, they are labyrinths themselves, each with their own sense and sensibilities, motifs and weaves. Three possible examples of anastrophes, subversive inversions of language that penetrate and destabilize the order of things, of the complex intricacy of the known”. To accompany the article of @exquisit_m for @vogueitalia I performed an anastrophe myself, from the heights of my own desk to cuckooing from beneath that of the director of @vogueitalia 📸 is by @dario.salamone and all the rest you can read on vogue.it #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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"Although very different from each other Enrico David, Chiara Fumai and Liliana Moro seem to share a taste for affabulation, they are labyrinths themselves, each with their own sense and sensibilities, motifs and weaves. Three possible examples of anastrophes, subversive inversions of language that penetrate and destabilize the order of things, of the complex intricacy of the known”. To accompany the article of @exquisit_m for @vogueitalia I performed an anastrophe myself, from the heights of my own desk to cuckooing from beneath that of the director of @vogueitalia 📸 is by @dario.salamone and all the rest you can read on vogue.it #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
Thinking of the triplets around me these days. Triades, trinities and triangulations. Enrico, Chiara and Liliana, three artists whose approaches to the labyrinth have three diverse yet complementary declinations. And also my dream team including three powerful women, mothers and beloved “befane”. Here they are: @stellabottai , aka Scylla, my Associate Curator with whom I’ve started the journey leading to Neither Nor; @lavinia.filippi , aka Charybdis, Research Curator who has helped me navigate tortuous labyrinths of references, and the epic #GiorgiaGallina, not portrayed here but omnipresent because, as Production Coordinator, she keeps an eye on everything! I’m thankful to have them at my side. After all, three is better than one! #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Thinking of the triplets around me these days. Triades, trinities and triangulations. Enrico, Chiara and Liliana, three artists whose approaches to the labyrinth have three diverse yet complementary declinations. And also my dream team including three powerful women, mothers and beloved “befane”. Here they are: @stellabottai , aka Scylla, my Associate Curator with whom I’ve started the journey leading to Neither Nor; @lavinia.filippi , aka Charybdis, Research Curator who has helped me navigate tortuous labyrinths of references, and the epic #GiorgiaGallina, not portrayed here but omnipresent because, as Production Coordinator, she keeps an eye on everything! I’m thankful to have them at my side. After all, three is better than one! #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
“An audacious spurt of salt water, the sinuous lines of ancient marble, the hair inflamed by sunrays. The hint of a smile, worthy of The Cheshire Cat.” I’m not sure whether I have such feline connotations, dear @matildecerrutiquara, but I enjoyed cruising X @id_italy with #LilianaMoro along the Giudecca Canal, talking of literary mise-en-abymes, my labyrinth in the making and the totalising priority of un-working, or better said “slavorare”. Thank you @gucci for being one of the two main sponsors of the Italian Pavilion 📸 @aurorazonta and more online on i-d.vice.com/it including 📷 B/W photography by Liliana Moro #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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“An audacious spurt of salt water, the sinuous lines of ancient marble, the hair inflamed by sunrays. The hint of a smile, worthy of The Cheshire Cat.” I’m not sure whether I have such feline connotations, dear @matildecerrutiquara , but I enjoyed cruising X @id_italy with #LilianaMoro along the Giudecca Canal, talking of literary mise-en-abymes, my labyrinth in the making and the totalising priority of un-working, or better said “slavorare”. Thank you @gucci for being one of the two main sponsors of the Italian Pavilion 📸 @aurorazonta and more online on i-d.vice.com/it including 📷 B/W photography by Liliana Moro #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
May you get lost in the woods of beauty and terror: the horrific forest, the locus horridus of all places and epochs! There, where the naivety of a walk in nature is suddenly assaulted by the dreadful. There, where the eroticism of desire and the danger of death intertwine each other. In Italian Renaissance literature amenity was often blended with horror. Getting lost in the impenetrable bush did not necessarily involve sin and behind every tree lurked the possibility of an encounter as adventurous as it was extraordinary. I grew up myself amidst misty winters, mild summers, hills of vineyards and malvasia. A sunny, joyful town, a locus amoenus. Yet in the winter, when darkness advances, driving out the light, while the mist rises over the river Po even the radiance fades, leaving the stage to a tangle of thoughts and reconsiderations. A temple of temptations. Dark, wild, rough and stubborn woods where the straight way is lost. 📸 Colle, Bolzano, Italy by @giovannamuzzisilva @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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May you get lost in the woods of beauty and terror: the horrific forest, the locus horridus of all places and epochs! There, where the naivety of a walk in nature is suddenly assaulted by the dreadful. There, where the eroticism of desire and the danger of death intertwine each other. In Italian Renaissance literature amenity was often blended with horror. Getting lost in the impenetrable bush did not necessarily involve sin and behind every tree lurked the possibility of an encounter as adventurous as it was extraordinary. I grew up myself amidst misty winters, mild summers, hills of vineyards and malvasia. A sunny, joyful town, a locus amoenus. Yet in the winter, when darkness advances, driving out the light, while the mist rises over the river Po even the radiance fades, leaving the stage to a tangle of thoughts and reconsiderations. A temple of temptations. Dark, wild, rough and stubborn woods where the straight way is lost. 📸 Colle, Bolzano, Italy by @giovannamuzzisilva @humboldtbooks #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Yesterday I left the Arsenale to find the bins of the city covered with our posters for the Italian Pavilion. From biennium to biennium, such apparitions have become a peculiar personal tradition for each exhibition I curated here. The last takeover was two years ago, on the occasion of Lucy McKenzie’s solo show ‘La Kermesse Héroïque’ at @bevilacqualamasa. ‘Né altra Né questa’, the Italian version of the title ‘Neither Nor’, is gendered to point to many possible abstract concept which are feminine in the Italian language. It uses the rhetorical figure of the anastrophe to disorientate, to move into the grey zone in between reality and abstraction, direction chosen and fantasy, where the challenge to the labyrinth can happen. And if it is ‘Neither Nor’, then what is the direction? What is the third possibility? An invitation to the beauty of disorientation… 📸 by our catalogue’s Editor @elisa_testori @humboldtbooks with Biagio the dog. Posters by our Exhibition & Graphic Designer Valerio Di Lucente @studio_julia #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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Yesterday I left the Arsenale to find the bins of the city covered with our posters for the Italian Pavilion. From biennium to biennium, such apparitions have become a peculiar personal tradition for each exhibition I curated here. The last takeover was two years ago, on the occasion of Lucy McKenzie’s solo show ‘La Kermesse Héroïque’ at @bevilacqualamasa. ‘Né altra Né questa’, the Italian version of the title ‘Neither Nor’, is gendered to point to many possible abstract concept which are feminine in the Italian language. It uses the rhetorical figure of the anastrophe to disorientate, to move into the grey zone in between reality and abstraction, direction chosen and fantasy, where the challenge to the labyrinth can happen. And if it is ‘Neither Nor’, then what is the direction? What is the third possibility? An invitation to the beauty of disorientation… 📸 by our catalogue’s Editor @elisa_testori @humboldtbooks with Biagio the dog. Posters by our Exhibition & Graphic Designer Valerio Di Lucente @studio_julia #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
In the Gospel of Plutarch and his ‘Parallel Lives’ (itself a labyrinth of narrations), when it comes to Theseus it is not the account of Theseus-the-killer-of-the-Minotaur that emerges the most, as much as the profile of an anticonformist, charismatic figure who was as decisive to the establishment of democracy in Athens as in representing the ideal embodiment of homosexual initiation. Could it be the reason for which he left Ariadne in Naxos? Plutarch recounts that Minos, king of Crete, loved Theseus, and it was for this reason that he had especially selected the son of Zeus and Poseidon to go back together with him to the island. Similarly, the author hints at Theseus living a homoerotic passion—in the role of the initiator, whereas he had been the younger lover with Minos—with his companion Pirithous. Theseus was also a trendsetter: as a youngster, he went to Delphi to follow the tradition of sacrificing some locks, but decided to cut only “the fore part of his head”, just as Homer said the Greek tribe of the Abantes did. That kind of haircut was since then called Theseïs, and it is the earliest version of… bangs! Last but not least, he is credited as the inventor of an ancient Greek ritual dance called ‘ghéranos’ or ‘The Crane Dance’: a staging of his own heroic action meant to mimic the complex movements which he had used to defeat the Minotaur and escape the labyrinth, as well as the orbits of the heavenly bodies, celebrating escape from death, resurrection and cosmic harmony. First performed by Theseus and the other fugitives on their arrival at Delos and still executed today in some areas of Greece, ‘The Crane Dance’ will be reinterpreted with a new choreography by @christodoulospanayiotou who will also lead a series of four themed workshops as part of our Education Program within the spaces of the Italian Pavilion. 📸 ‘Theseus and the Minotaur’ by Antonio Canova, 1783 #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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In the Gospel of Plutarch and his ‘Parallel Lives’ (itself a labyrinth of narrations), when it comes to Theseus it is not the account of Theseus-the-killer-of-the-Minotaur that emerges the most, as much as the profile of an anticonformist, charismatic figure who was as decisive to the establishment of democracy in Athens as in representing the ideal embodiment of homosexual initiation. Could it be the reason for which he left Ariadne in Naxos? Plutarch recounts that Minos, king of Crete, loved Theseus, and it was for this reason that he had especially selected the son of Zeus and Poseidon to go back together with him to the island. Similarly, the author hints at Theseus living a homoerotic passion—in the role of the initiator, whereas he had been the younger lover with Minos—with his companion Pirithous. Theseus was also a trendsetter: as a youngster, he went to Delphi to follow the tradition of sacrificing some locks, but decided to cut only “the fore part of his head”, just as Homer said the Greek tribe of the Abantes did. That kind of haircut was since then called Theseïs, and it is the earliest version of… bangs! Last but not least, he is credited as the inventor of an ancient Greek ritual dance called ‘ghéranos’ or ‘The Crane Dance’: a staging of his own heroic action meant to mimic the complex movements which he had used to defeat the Minotaur and escape the labyrinth, as well as the orbits of the heavenly bodies, celebrating escape from death, resurrection and cosmic harmony. First performed by Theseus and the other fugitives on their arrival at Delos and still executed today in some areas of Greece, ‘The Crane Dance’ will be reinterpreted with a new choreography by @christodoulospanayiotou who will also lead a series of four themed workshops as part of our Education Program within the spaces of the Italian Pavilion. 📸 ‘Theseus and the Minotaur’ by Antonio Canova, 1783 #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
It was the beginning of October 2018 when I found myself entering the Art Deco building at 60 Great Queen Street, also known as the Freemasons’ Hall in London. The headquarters to the United Grand Lodge of England and the Supreme Grand Chapter of Royal Arch Masons, where members have met since 1775. Inside the Hall, depicted on the bronze door of the main temple, there is a reference to the construction of the first Templar’s meeting site in Jerusalem. Temple Church, the former base of the Knights Templars’ order in the UK, is only a short walk away. While exploring the premises I entered the lavatories, maybe led by an intuition, or by a call to exploration. A wide room with a blue and white tiled floor, brass and periwinkle sinks adorned with globe-shaped ampoules. There, against the blue walls where the urinals were set, a man was fiercely standing with his back turned. An act of relief, or a binding love spell? His casual posture potentially co-existed with a conscious desire to be noticed. For a fraction of a moment, his pose reminded me of #EnricoDavid’s work ‘Ultra Paste’, where the preadolescent artist is portrayed from behind, intent in an action somewhere between the deliberate and the accidental. An intimate memory that takes concrete form on an expanded scale and thus becomes explicitly pretense precisely because of its exposed, timeless theatricality. My fortuitous entrance brought me in front of an oddly familiar view. I saw strangeness in the ordinary. Repetition, but of what? That figure, that silhouette from behind… I think I saw it before. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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It was the beginning of October 2018 when I found myself entering the Art Deco building at 60 Great Queen Street, also known as the Freemasons’ Hall in London. The headquarters to the United Grand Lodge of England and the Supreme Grand Chapter of Royal Arch Masons, where members have met since 1775. Inside the Hall, depicted on the bronze door of the main temple, there is a reference to the construction of the first Templar’s meeting site in Jerusalem. Temple Church, the former base of the Knights Templars’ order in the UK, is only a short walk away. While exploring the premises I entered the lavatories, maybe led by an intuition, or by a call to exploration. A wide room with a blue and white tiled floor, brass and periwinkle sinks adorned with globe-shaped ampoules. There, against the blue walls where the urinals were set, a man was fiercely standing with his back turned. An act of relief, or a binding love spell? His casual posture potentially co-existed with a conscious desire to be noticed. For a fraction of a moment, his pose reminded me of #EnricoDavid’s work ‘Ultra Paste’, where the preadolescent artist is portrayed from behind, intent in an action somewhere between the deliberate and the accidental. An intimate memory that takes concrete form on an expanded scale and thus becomes explicitly pretense precisely because of its exposed, timeless theatricality. My fortuitous entrance brought me in front of an oddly familiar view. I saw strangeness in the ordinary. Repetition, but of what? That figure, that silhouette from behind… I think I saw it before. #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
#tb to that time when my Dracula soul might have crossed with a character of Venetian flavour, a possible Casanova running away from Elizabeth I to find a rather picturesque refuge in a Flemish painting. In my interview with @gqitalia back in January I spoke about how the soul gets dressed and disguises itself constantly, for it blends with something else. Thank you #MustafaSabbagh for your accurate artistic interpretation 📸and #GiovanniAudiffredi for the great ✍🏻 which you can find online on gqitalia.it #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap
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#tb to that time when my Dracula soul might have crossed with a character of Venetian flavour, a possible Casanova running away from Elizabeth I to find a rather picturesque refuge in a Flemish painting. In my interview with @gqitalia back in January I spoke about how the soul gets dressed and disguises itself constantly, for it blends with something else. Thank you #MustafaSabbagh for your accurate artistic interpretation 📸and #GiovanniAudiffredi for the great ✍🏻 which you can find online on gqitalia.it #padiglioneitalia #italianpavilion #padiglioneitalia2019 #biennalearte2019 #enricodavid #chiarafumai #lilianamoro #neithernor #thechallengetothelabyrinth @labiennale @dg_aap

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