Terre vulnerabili 3/4

The title of the third phase of Terre vulnerabili, “Some people walk in the rain others simply get wet” is once again an instruction, a spark, a direction to take while entering the space of the exhibition, trying to remember that letting the rain pour on us means also to get in without any protection. Perhaps a first thought that can create a link between the second and the third phase of Terre vulnerabili is the invitation to let ourselves pervade by sensations and by a state we can go across, but also we could be crossed by: it’s about to be conscious that in this precise moment we are getting soak, that is we are getting in touch with something unexpected that we decide not to avoid. Thus the suggestion is to let ourselves go and be transported by solids and voids, by lights and shadows, by imperceptible elements and emotions, by delicate sounds and by stronger ones, as it happens with the arrival of the installation by Marcellvs L., which records the noises produced by the transport of a grand piano on the canals of the Venetian Lagoon, and replaces the dissonances created by the definitely disappeared ice vases by Elisabetta Di Maggio, whom we meet again in the shed with a series of meticulous engravings on the chalk of Terre. Wax, Relax by Invernomuto also begins to slowly melt, while on the opposite side Yona Friedman’s labyrinth grows with another floor, becoming once again disposable to welcome the artworks of other artists, as it happens with Margherita Morgantin’s ready-made and for the intervention by Adele Prosdocimi. As Gelitin’s Mona Lisa, the work by Alice Cattaneo has changed not only its configuration, but also its place. Together they redefine completely volumes, weights and tone of the two aisles of HangarBicocca, enriched by the new artworks by Massimo Bartolini and Ludovica Carbotta, who have both chosen to develop in verticality dialoguing with the architecture of the space. It’s the way undergone by Franz West who lights up an uncommon visual register, yet alienating in the verticality of Hangar by now symbolically guarded by Anselm Kiefer’s Towers.

Photos: © Andrea Rossetti