The exhibition "Habeas corpus: summary of decomposition", in collaboration with the Municipality of Lecco - Lecchese Urban Museum System (Si.MUL), curated by Filippo Mollea Ceirano and Sabina Melesi, critical text by Filippo Mollea Ceirano, offers a selection of works of the Lecco artist Nicolò Tomaini and offers a complete and exhaustive overview of all the main paths that in his brief but intense experience have marked his research. The exhibition of the Lecco artist is part of the 2021 exhibition program of the Municipality of Lecco, specifically at Palazzo delle Paure.

Just over thirty, in the ten years of artistic experimentation he was able to grasp some of the most distressing aspects of the era in which he had to live: the increasingly obsessive intrusiveness with which new technologies have taken over the control of communication between people who, deprived of the possibility of relating directly to each other, drown in an empty time contemplating the images that run quickly before their eyes.

Already in the first works the discourse is very clear. The icons of social networks (Facebook, Twitter) are transformed into symbols of past dictatorships or instruments of death, smartphones are placed side by side with flints and clay tablets imprinted with cuneiform characters, or they form the basis of symbolic crucifixes, or even become a support for letters forming short words ("EGO", "INRI") to underline the role these tools have assumed in society. Subsequently, the investigation focuses even more on communication: the machine takes control of the idea, of the creation, degrades it to a predefined icon, in the monochromes the color is no longer the result of the artist's chromatic research that invades the surface of the work, but it is represented by the logo of the Paint program reproduced in a corner of the canvas, left instead completely empty as a reminder that a command is enough to fill an entire space with color; to create portraits of famous people (writers, intellectuals) the screenshot of the related Wikipedia page is reproduced on the table, while the history of the messenger activity becomes Portrait of lovers, to underline how a love relationship is now condensed into a dry exchange of short digitized sentences. In the series The 120 Days of Sodom, closed in shipping packages, works of art can be glimpsed into gadgets to sell, buy, send or receive.