Leonardi V – idea
In the exhibition Marea there is a forged steel, 3D renderings, city lights, island geologies, underwater geologies, and abovewater scenes. Images, videos, paintings, textiles, texts, and print works are presented in an array. Marea attempts to visually articulate the concept of the tide. The tide is linked to time, not a specific time, political time, or one where we can determine its direction. Instead, it is a time of ebbs and flows, where water is gravitationally connected to the moon’s cycles.
To break with the tide (or time) does not always mean going against the current of the times but adapting to alternative ways of confronting it. Also, with one’s body, the most intimate thing there is. Shifting one’s point of view to look anew requires art and ideas. It revolves around each individual in the Fumogeni group expressing their personal poetry through various mediums on topics that are interconnected and unveiled. Marea runs in parallel to our upcoming project at the art residency at Casa degli Artisti in Milan. First and foremost, the tide is personal, reflecting on how one perceives the changes of our times or adapts to the changes of the sea, as if nothing ever changes. It turns into a pattern, yet simultaneously breaks with patterns. To grasp time poetically, one must live in the moment, discuss it, and embrace what is universal rather than focusing on history, which is merely a document. Poetry remains constant over time, contemplating existential and individual tidal forces that politics or ideologies cannot fully grasp as a unified tangible entity like an ocean, only as a part. Waves alone become our guide; a fluctuation aligned but never fully aligned. (Ronny Faber Dahl)
.Simona Barbera, The way things are spoken out of this score 2023
The way things are spoken out of this score is a print works series that includes spoken word pieces derived from performative poems and sound scores, presented through colored pigment prints. The prints feature 3D renderings on cotton paper depicting a fluid underwater waves simulation in various shades of purple-blue. The textual works within the series incorporate elements from my previous pieces and introduce a new body of work based on a reverse reinterpretation of a sequence from the silent film “Thirty Leagues Under the Sea” (1914). The first underwater film, inspired by Jules Verne’s novel “Vingt Mille Lieues sous les mers,” depicted the underwater ecosystem through the photosphere, a mechanism that facilitated the use of the camera on the ocean floor. The first moving image recorded on the seafloor also showed a dead horse lowered upside down as shark bait, both to lure the animal to the camera and to lead it to its demise. In my text elaboration, I delve on the hydrosphere as a sensorial embodiment and territorial water manifestation.