Mira il mare má lë - which comes from a playful mix of Spanish, Italian and Urbino dialect, which can be translated as “look at the sea there” - is the title of Davide Mancini Zanchi's first solo show in a public institution. A site specific project created for the Centro Arti Visive Pescheria, curated by Marcello Smarrelli, the result of a work conceived by the artist during the pandemic and created with the aim of creating a dialogue with the architecture of the two spaces that characterize it: the Loggiato, seat of the ancient fish market, and the church of the Suffragio.

Davide Mancini Zanchi creates objects and scenarios where traditional art media exchange roles and functions with common elements drawn from everyday life. Colorful, playful and amusing, his works often contain obsessions and hostile aspects of conceptual culture and creativity.

In the long sleeve of the Pescheria, characterized by the monumental brick colonnade open to the street, the sea returns curious wooden trunks to the beach. Moving in space it turns out that these objets trouvè have incorporated other elements. Strange metamorphoses that the sea creates by transforming the wood smoothed by the wave motion into objects of common use. These sculptures seem to assemble and blend styles and working methods inspired by the medium that more than any other has defined the contemporary world: the ready-made.

The background is Trevor, a video projection of over 30 meters, in which the viewer is invited to share the same view as Trevor Philips, the protagonist of GTA V, a video game on the PlayStation.

The artist crystallizes the character in an indefinite time in which he gets lost in the boundless horizon of the sea that opens up in front of him. Set in the bloody city of Los Santos (double dystopian of Los Angeles) where day alternates with night and weather changes, the projection occupies the entire back wall of the Pescheria: a constantly changing horizon, in which the sea sways . Hands appear frequently overlapping the waves, revealing the artificiality of this only apparently natural vision.