We walk on the edge of an instant, the final exhibition of the sixteenth edition of the Young Curators Residency Program, brings together eleven Italian artists who draw on the characteristics of the carnival to imagine, generate, or criticize temporary utopias. The artist brings insolent laughter, chaos, collective demonstrations to the halls of Palazzo Re Rebaudengo : they create spaces capable of triggering processes with which to subvert traditional rules and social hierarchies. As happens during the carnival, in these interventions the normativity is temporarily suspended and the non-conforming states of being are freed. The title of the exhibition re-elaborates the words of a drawing by Lisa Ponti, with the desire to suggest that feeling of momentary suspension that occurs when suspended on the edge of something new.
In the rooms, the incessant repetition of specific gestures becomes the driving force through which to generate significant changes. We walk on the edge of an instant traces a constellation of experiences and ephemeral spaces that are posed as strategies of resistance and liberation. Lisa Ponti , with her drawings, and Elena Radice , with her practice based on sound, make room for the ineffable through the juxtaposition of images, texts, and sounds drawn from everyday activities.These artists reveal unexpected interstices, welcome forms of knowledge remained silent, imagining new and propitious strategies in the ganglia of the status quo. Roberto Fassone reinvents the structures at the base of everyday life, instilling an unusual logic in trivial situations. A series of masked works are dispersed in the rooms, which become occasions for unexpected and amusing encounters.
In the works of Piero Gilardi and Effe Minelli , art is an effective tool with which to launch a challenge to social institutions. In dialogue in one of the exhibition rooms, Gilardi and Minelli use performance and recklessness to resist the normative impositions of being. In the group readings by Enrico Floriddia and in the environmental performances of Industria Indipendente, on the other hand, moments of community collectivity take shape. By defining new parameters of being together, this artist asks the participants to consider their own positions with respect to others, placing plurality at the center of the shared spaces. Cleo Fariselli transforms one of the exhibition rooms into an immersive environment, which leaves the viewer inert myriads of reflections in motion. The artist embraces the contradictory sensations of this experience, celebrates the possibilities of multiple and multifaceted escapes, while at the same time underlining its implicit risks.
Enej Gala and Federico Tosi break down every binary, merging the grotesque and the profane with a dreamy imaginary. Putting ordinary rules and labels aside, Gala and Tosi build new worlds that are critical of today's society. Allison Grimaldi Donahue uses comic poetry as a form of liberation. Through the rewriting and queerization of medieval texts, Grimaldi Donahue places herself within the medieval literary tradition, reversing its hierarchical, and often misogynistic, implications.