Press release
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september 12, 2022 - Francesca Minini
Second best scenario
What if hundreds of miles below the ground there was an atomic pile, sunk for reasons unknown? second best
scenario is based on an absurd assumption: a powerful generator that shifts the balance of the world is buried
in the middle of the gallery, and #ivanabasic, #bennibosetto, #ambracastagnetti and #finsimonetti, immune to its
radiation, need to look after it. Theirs is a very precise role: they are the vestal virgins tending to this radioactive
divinity which needs nourishment, attention and caring gestures to give energy.
An artificial landscape fed by the protagonists of the #show opens up before our eyes: a futuristic beauty salon, a
group of hybrid organisms that emerge from the walls, barely visible faces on gothic windows and extraterrestrial creatures with supernatural powers.
A world teetering on the brink of collapse, or a shelter for times to come, unfolds through the works of four
distinct voices in response to an unlikely inspiration. The atomic pile, a metaphorical entity representing fantasy
and the desire to give shape, needs daily and constant care and sustenance, and the works on display respond
to this need.
We are welcomed into the atmosphere of an old wellness centre where objects take on human characteristics.
Benni Bosetto's mirrors (1987, IT) hung on the walls turn into esoteric tables, where amulets, bodies and nature
intertwine. Hairdryer hoods come out of the wall like arms and tell of a timeless universe.
Ivana Basic's works (1986, Belgrade) depict body wounds halfway between the alien and the human. The fusion of natural and artificial materials reminds us of primordial organs undergoing a process of mutation. What may seem recognizable is immediately engulfed by an amorphous and all-encompassing presence.
Lastly, #finsimonetti (1985, Vancouver) turns space into a domestic and sacred place with works where the austerity of an almost clerical stained glass window enters into dialogue with faded barbershop posters. Torn from shop windows, the faces portrayed are now immutable, crystallized in an eternal time. We find Ambra Castagnetti's works (1993, IT) displayed as if around a fire in a cave. Fragmented bodies and grafts of different materials offer a fluid and intimate scenario where the fragile and the unbreakable come together in a vital and magical dance.
Further information in the press release to download
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