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

The survey proposed in this exhibition starts from a scientific datum , published in 1989 in the 21st Century Science & Technology magazine. In the text it was stated that the human being vibrates at about 570 trillion times per second, 42 octaves above the central C of a piano; a greatness that does not seem to be able to be contained in the walls of the imagination, yet, it 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 the adaptability or crisis of man with his environment, understood as a vital and relational space, depends.

Nocturne with figure constitutes a first corollary on the theme of existential vibration that is added to the research begun by Lucrezia Longobardi in 2017 on the concept of Existential Space. This path, which developed through exhibitions and critical-philosophical essays entitled “Definitions” and followed by consecutive numbers, has become the main form of the curator's research, who 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 con figure an existential landscape takes shape based on a state of precariousness and disillusionment, the result 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, of living - isolated and surreal, at the extreme of the possible, wild and severe that allows the individual to get away from the disturbing norm of society to be able to cling to the improbable possibility of conscious alienation.

The intimate memory proposed by Carlo and Fabio Ingrassia seems to exist only because of the vibration of the light and color imprinted in the image, as if the portrait subject has no body and substance per se. This precariousness is reflected and developed in the trembling installation by Eugenio Tibaldi. The relationship between the works triggers a dialectic between interior landscape and real space, in which the nocturnal perimeter of a spectral dwelling, perhaps impossible, lost in memory or imagination, explodes in the installation structure that (with) blends natural and anthropogenic forms. functional in an environment balanced 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 live on the fringes of large metropolises, from migrant slums in northern France to accommodation of luck along the banks of the Tiber. This form of dirty and disadvantaged existence is 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 meanders of primary necessities, trying to reduce to the bone the circle of life that here becomes obsessive and closed in on itself.