by luisella | Oct 23, 2018 | Uncategorized
by Danilo Eccher Triennale Palace, Milan 2015 A clean cut inside a white, aseptic and spectrally empty hall, a walk through nothing, a wound that opens its eyes to the chasm of violent, filthy, worn-out and desperate everyday life. Shreds of threadbare and rejected objects, cigarette stumps, wilted plastics, modern exhibits of faded memories, rubbish that sticks to shiny and metallic grids, to cruel and perfect geometries that, like unstoppable magnets, gather up the fragments of a recent past. Brutalities that recompose as chromatic scans, chaotically imposing themselves as a new and surprising colouristic harmony, contemporary Gardens of new “flowers of evil”, epiphanous flowerbeds of a sweet violence. The austere and candid museum room is shaken, it is ripped open by one single razor cut on the floor that points to a new garden beyond the window: a new horizon past the grill of indifferent everyday life. MACRO, Rome, 2017 The room is dark, theatrically built to host this tragic recital: the garden of modernity rises in Golgotha and stoops to build the dramatic scenography of a Crucifixion, only the tragic idea of the Cross: three gigantic plates of ripped, injured, humiliated cement, three abstract figures of frayed mantles, three heavy and rigid Shrouds on which we can see the scars of modernity. The roughness of the cement, the hardness of the steel and rust outline the features of a sufferance that to us become more and more tangible, close and routinely. The emaciated flowers of the garden that is laid out on the floor and the colours of its vomited petals dilute the drama of these plates and...
