Palazzo Ducale di Genova verified

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closed Apparently places

Curated by: Clelia Belgrado e Benedetta Donato

The show

Two authors, two different visions and approaches to an imaginary chess game, which is played through the escamotage of what appears to be, but is not as it appears. In this path we find ourselves faced with two narratives that interpret places, through precise coordinates, constituted by the reinterpretations of Annalisa Moschini and Diletta Nicosia. Each photograph shows traces of outer and inner worlds at the antipodes, where the common denominator is perceptible in the choice of portraying places, beyond their obvious specific destination. A theme that we have come to know from the theories of scholars like Marc Augé, thanks to which we find a precise definition of the concept of place. For Augé it must have three fundamental characteristics: it must be an identity, such as to mark the identity of those who live there; relational, which identifies the reciprocal relationships between the subjects, according to their common belonging; and finally historical, that is, it must remind the individual of his roots. Missing features of the spaces that surround us, especially those assigned to transit, transport and leisure, where people are passing through, briefly stop you, but nobody actually lives there. In the same way, moving in a purely visual context and taking as a reference an author such as Guido Guidi, we pause on the appearance of places: we begin to photograph spaces and objects excluded from any attribution of meaning and therefore the terrain of the observable is considerably widened and of the immortalizable, highlighting the often contradictory aspects that make up the contemporary.

In both paths - theoretical and visual - an ambivalence inherent in the landscape is emphasized, as a container of signs that are difficult to define and decode, because it is the result of continuous stratifications, which modify the sense of place and which, by means of photography, they become interceptable and evident, in multiple and unexpected facets.

This is the case of the two perspectives offered by the two protagonist authors of this narration that, starting from different instances of experience and individual experiences, training, research and path, become compatible, giving interesting insights to the reflection on the metamorphosis of places, on their reinterpretation, for the purpose of a deeper understanding of the contemporary function assumed by the latter, through new points of view. In Fun by Annalisa Moschini, the places of entertainment take on the role of "containment centers". All the elements attributable to the aid of the game become instruments of constraint and forced inclusion. The rigor, the cut and the color of the images are cleverly used by the artist to emphasize the obvious contradictions between container and content. We are witnessing a perturbation of the environment usually perceived as free, carefree and open, from which a question inevitably arises about the meaning and function of space. In Newspapers not places proposed by Diletta Nicosia, the places of passage and rest, generally occlusive and independent of each other, are instinctively resumed and here they become pleasant, because they are characterized by the identification of sequential, common and coherent elements, such as the sinuous geometries or the choice of soft colors, offering an aesthetically pleasing and appealing result, of a space that by its definition is born closed, restraining, limiting and lacking in appeal, and which now becomes welcoming and reassuring. In the game of appearances, each place is shown for its exact opposite, denoting the loss of its essence and primary function. The two perspectives capture non-concrete and intangible factors, such as the absence and immobility that, on the one hand are returned with the socio-anthropological reflection on today's sense of open places and deputies for leisure activities, on the other hand it shows through the aesthetic escamotaggio of closed environments and destined to the pauses between an activity and the following one. The particularity of the points of view allows to move from the depth to the surface of the places reported, hypothetically identified as familiar and now unrecognizable, as generators of a sense of disorientation, with respect to the traditional and widespread perception. They are not imaginary worlds, they are physical and real places, shown as they appear in a new, curious and disturbing way in the two opposed and unexpectedly aligned visions.

Works on display

Timetable and tickets


Piazza Giacomo Matteotti, 9
16123 Genova


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