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closed Notturno con figura

Curated by: Lucrezia Longobardi

The show

On Monday 3 February the National Gallery inaugurates the third and final appointment of Connection Gallery with the Notturno con figure exhibition. First corollary on vibration by Lucrezia Longobardi. The exhibition, curated by Massimo Mininni and started in June 2019 with the work of Andrea Mastrovito and subsequently with that of the duo Invernomuto, ends with the site-specific installation of the artists Carlo and Fabio Ingrassia and Eugenio Tibaldi.

The investigation proposed in this exhibition starts from a scientific data, published in 1989 in the journal 21st Century Science & Technology. The text stated that the human being vibrates at about 570 trillion times per second, 42 octaves above the central C of a piano; a magnitude that seems unable to be contained in the walls of the imagination, yet gives the figure of how men are eminently emotional beings, capable of shaping reality through the vibrations they emanate. Their harmonies or disharmonies, produced by internal or social disagreements, can generate reactions on which man's adaptability or crisis with his environment depends, understood as a living and relational space.

Notturno con figura is a first corollary on the theme of existential vibration which is added to the research started by Lucrezia Longobardi in 2017 on the concept of Existential Space. This path, developed through exhibitions and critical-philosophical essays entitled "Definitions" and followed by consecutive numbers, has become the main form of the curator's research, which here initiates a series of complementary reflections.

As in the previous parts, the two works of the artists involved merge into a single experiential device.

In Notturno with figure an existential landscape takes shape based on a state of precariousness and disillusionment, the son of the emotional atrophies that characterized the beginning of the 21st century. The structure of this project focuses on the anatomy (or autopsy) of a circumstance of being - and, therefore, living - isolated and surreal, at the extreme of the possible, wild and severe that allows the individual to move away by the disturbing norm of society in order to cling to the unlikely possibility of conscious alienation.

The intimate memory proposed by Carlo and Fabio Ingrassia seems to exist only because of the vibration of light and color impressed on the image, as if the portrayed subject does not have body and substance in itself. This precariousness is reflected and developed in Eugenio Tibaldi's trembling installation. The relationship between the works triggers a dialectic between interior landscape and real space, in which the nocturnal perimeter of a ghostly dwelling, perhaps impossible, lost in memory or imagination, explodes in the installation structure that (with) blends natural and anthropo- functional in an environment in balance between a neuronal landscape and a neo-primitive habitat similar to those in which a large part of the excluded (voluntary or not) from society lives on the margins of large cities, from the slums of migrants in northern France to accommodation of luck along the banks

of the Tiber. This dirty and disadvantaged form of existence imposes itself, however, striking in the truth of its natural knotting with life. What emerges from this trembling device in mid-air is the essence of the being that advances in the maze of primary needs, trying to reduce the circle of life to the bone that here becomes obsessive and closed in on itself.

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More planned

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11Dec

Galleria Nazionale d'Arte Moderna e Contemporanea Galleria Nazionale d'Arte Moderna e Contemporanea
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