Toreros d’Aujourd’hui
from 11 November 2018 to 21 December 2018
Milano
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In the galleries of Palazzo Fagnani Ronzoni, THE POOL NYC presents *Toreros d’Aujourd’hui*, Stefania Fersini’s first solo exhibition in Milan. Describing Stefania Fersini’s (Aosta, 1982) daring meta-artistic and post-curatorial endeavour is an act of equal critical and narrative audacity. After all, the young artist has already demonstrated an extremely elusive pictorial quality, which plays with the enigma of recognition – of oneself, of others – and of the conception of real and imaginary space – one need only think of the historic residences and palaces transformed thanks to works such as Mirror (Casa Mollino, Turin) and Vanitas (Palazzo Reale, Milan).
For this singular installation – singular because every ascent entails a greater risk – Fersini enacts her mimesis with the exhibition space in the strictest sense: a subtle repetition within every masterpiece by others; a fragmentation of the self within others; an awareness born of her roles as set designer and curator; a theatrical direction of an absent work, shaped as much by voids as by the everyday. Indeed, Toreros d’aujourd’hui transforms Palazzo Fagnani Ronzoni, the exhibition venue of THE POOL NYC gallery, into the very single work by Fersini on display. A place that becomes etymologically domestic, an alcove of pastel hues and recognisable elements; a space that becomes a perpetual déjà vu of curtains and tapestries painted partially and peripherally, with fictitious furniture and paintings, playing on the ambivalence of expectation and reality, background and subject, margin and protagonism. Indeed, the ‘home’ conceived by the artist is composed of several works – old and new, and the factor of time must be borne in mind at every step in this labyrinthine reasoning – by Aldo Mondino, Hilario Isola and Gabetti and Isola: Fersini is omnipresent, acting as a frame and a container for the works of the aforementioned artists, revealing itself in flashes and recreating the constant elusiveness that characterises it. What is depicted in the work will be an object linked to the work itself and situated in different spaces. The object, selected by Fersini, will not be found in front of the canvas that might depict it, but in another room. The search, within the space, for harmony between the exhibition and reflection; the gap between the real work and its reproduction; the aesthetic of the observer’s disorientation at the hands of an omniscient and ironic narrator: the experience of the exhibition is in itself the work – indeed, the meta-work.
Finally, it should be added that the experience is intimately linked to the artists’ biographical stories, in a continuous genealogical exchange between mentors and successors; a genetic and artistically hereditary relationship – Hilario Isola, for example, interprets his father’s intellectual legacy through his Aristotle. Even the exhibition’s title derives from the name of a book that belonged to Aldo Mondino, specifically chosen by his son Antonio for this occasion. With the clue-phrases of other authors – embroidered and painted in his own handwriting – Fersini invites fathers and sons to an artistic and genetic dialogue of memes, in a theatre of memories and references between space and time, guaranteeing extraordinary powers of wonder, attraction, interrogation and universality.
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Star su, 1966/72
acrilico su tela e palloncino
120 × 120 cm
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