Aliens, meteorites, mutated bodies. Donna Haraway would be happy around here, in this sacred, frozen white refrigerator. In the autumn outside the tunnel the temperature also dropped. The works are certainly no hotter than the exhibition space. But why? Why did these intellectual women talk about a “second scenario”? And what, then, is the “first scenario”; perhaps a nuclear catastrophe? Like the one touched upon a week or two ago, by the Russia – Ukraine conflict?
An esoteric alternative like that of Volodine in “Radiant Terminus“. In this world the artists perceived a refuge and explored it so deeply that they could show us the lies of it. This is the reason for this icy vision. Today it is post-human where art awards for human beings are won by machines (IA Midjourney). But today here, from Francesca Minini: minds, bodies, exist and resist, where pure human Desire can never be replaced.
The works of Amber Castagnetti (Genoa, 1993) have these snakes in their bosom, an allegorical image that connects the animal body to the body of the human god. They are divine, bestial bodies. Like Medusa’s torso (li), where the limbs are missing and the reptilian hair falls out twisting. But today the works are unpublished.
The latter tread the modeled body. A half-length muse suspended from the wall, carries weapons on her chest and a blue light trapped by the juxtaposed plastic creates anomaly with the polished bronze. The second nymph trodden has her flesh tightened by the straps of a bondage lingerie, in the lower part of her bronze body; while, in the upper part, there is a call of marble material formed by wax and pigment that supports the bust and breasts, the absence of the head is a flow of propolis.
The windows of Fin Simonetti (Vancouver, 1985) open on heads at the barbershop, strangely listening, where their ears are highlighted, they pray in secret or confess on the sidelines. Post apocalyptic remnants of destroyed cities: ruins of cathedrals mixed with the remains of the artisan shops of the city. Note the previous works that deal with the poetics of the oxymoron with finesse: protection and vulnerability; paws of beasts in marble delicately balanced on iron.
Ivana Basic (Belgrade, 1986) composes a crescendo from the formless to the alien. Combines elements of HR Giger and Eva Hesse. She comes from Canada, the cold reaches here, in the bones. I can imagine her studying with Alien’s babies in formaldehyde tubes. The caress of the plastic curves is extremely tactile. Benni Bosetto (Lecco, 1987) reflects Jodorowsky with enchanting tables, spells and amulets bring in this second scenario the possibility that the supernatural exists… Wood and small round mirrors frame precious graphite drawings, dreamlike nightmare subjects.
Present in the exhibition is a coiffeur chair; this has a hair dryer that has been rendered unusable as it houses a globe adorned with pencil illustrations. A strange helmet with a tube that drags into Victor Frankenstein’s cellars where the monster comes to life with an electric discharge, or where a lady regenerates her hair.
Second Best Scenario
Ivana Bašić, Benni Bosetto, Ambra Castagnetti and Fin Simonetti
September 20 – November 5
Francesca Minini, Milan