The “Structural Tensions” trilogy is an organic project divided into three independent yet in- terconnected exhibitions, which are presented within the gallery’s spaces step-by-step. If the rst exhibition, which was carried out last February, focused on the central role of the indi- vidual in the construction of the perceived space, through environmental installations by Car- lo Bernardini, Monika Grzymala, Roberto Pugliese and Ester Stocker, the second one analy- ses the different possibilities of matter as an element of representation and, nally, the third one, scheduled for next year, will study the entropic processes of the everyday environment.
The ve guest artists developed the second chapter of the trilogy as an analysis of the possibilities and limits of matter in its different structures, aspects and meanings. The exhibit presents a series of works that interrogate themselves, in very contrasting ways, on the subtleties and nuances that are concealed within the recesses of the atavistic dichotomies between physicality and abstraction, what is tangible and what is inde nite, stability and uncertainty. A study of phenomena where what is real appears and is shown through traces, references and signs in which the individual may reach to recognize and comprehend it exclusively through personal experience. In doing so, the exhibition is conceived as a series of impulses, clues and hints in which the artworks slow down, cancelling any attempt of taxonomic classi cation or categorization, and rejecting all objecti cations of what is real.
In particular, in the rst room, Aeneas Wilder questions the durability and static security of mat- ter through “Untitled #191”, a work structured just through balance and the force of gravity, and in which there is no trace of any fastening system among the installations’ numerous elements. In the second room, “Lontanodentro”, by Davide Dormino, which shapes into a waterfall built with iron threads that cover the entire room and converge from the ceiling’s perimeter to the center of the oor, leaving the viewer with the option of observing it from a peripheral perspective or by crossing it to reach it’s core. In the third room we nd “All Is Shining the Same”, by Marzia Corinne Rossi, consisting of a tangle of self-supporting industrial pigmented sandpaper elements, a material that characterizes the artist’s production, which align in the exposition space, mutating its physical and perceptive characteristics. Opposite, Diamante Faraldo presents “A Nord del Futuro”, a large upside-down map that requires the viewer to stop and scrutinize it carefully in order to distinguish nuances, details and traits concealed behind a material that tries to hide behind its ambiguity. Fi- nally, in the last room, Andrea Nacciarriti, with his work “Crystallize #002 [matter]” investigates the capacity of transformation and the fragility of matter, dilating suspension and analyzing the cate- gory of transition through an act of fragmentation that drags beyond our possibilities to reach it.