History, tradition, abstraction, contemporaneity, hybridity, classical sculpture, craftsmanship, digital environment, information technologies, reality, fiction, renaissance, identity, Italy, art, sculpture, installation, mineral, hands, death, spirituality, community – they all become a starting point of an artistic exploration that instigates action, creates distance, layers the heterogeneous amalgam of actions and new meanings. This unexpected mixture of indexes, in the same vein as veal and tuna, creates an elegant, provoking and tempting cultural sediment. Folded together, enmeshed into forms and volumes, this artistic body of work shows that events, very far from each other in chronology and narration, sometimes act as contemporaneous inmates. Time and history are not linear for them; they follow many dynamics and chaotic processes, they have many linearities which provide a consistency. This consistency we call vitellotonnato.
Through Sergio Breviario, one explores sculptural responsibility that produces not knowledge, but rather the ability to response to things, visible in his seminal work La sposa ha la testa fra le nuvole. Series Ritardo di vetro evokes a renaissance study in shapes and patterns by overlapping layers of glass with a decorative pattern and thus creating an illusion of texture. On the other hand, David Casini’s latest works are metaphorical portraits referencing Francesco Caroto or Raphael. They establish a dialogue between contemporaneity and historicity, abstraction and reality, filigree and digitality. Here, he uses the innuendo of sprezzatura, an ideal of studied carelessness, while simultaneously making gestures that are archaic, modern and futuristic. It is a perplexing and pronounced perception of the world, which leads us to the discovery of its content and invisible parts. It is a play of coincidence that shows how moments and layers of the past help shape the future without assuming the shape of its representation. With T-yong Chung, one erases the boundaries between figuration and abstraction, classical and modern, physical and metaphysical. Clear, geometrical cuts on classical busts, show the necessity of unmaking in order to create. Large format photographs showing portraits of objects in nature, subtly invoke Giuseppe Penone's ideal of re-establishing the severed connection between man and nature. In searching of the origins of human existence, Marta Pierobon grasps for every proof that might mean something in this process. Her works are treated with light and minimal gestures, endowed with intuition; concerned with memory, death, spirituality and identity. They involve investigations that often refer to locality or temporality in which to act. The anti-monumental volumes are stressed with the use of primal materials such as plaster and clay, indicating thresholds from classical sculptural tradition to Medardo Rosso.
In vitellotonnato, Sergio Breviario, David Casini, T-yong Chung and Marta Pierobon construct a tangible representation of reality through a line of parallel narratives which have surrounded them. Their story of history is a densely interwoven mass inside which many different "times" are coexisting and the possibilities of interconnections are endless.