Performance 70’

Prometeogallery di Ida Pisani, Milan

ph Ela Bialkowska, OKNOstudio

The emptiness on us is a private, dilated and widely diffused sensation in today's reality, which is mainly originated by the fragmentation and deterioration of identity, relational, ideological, social and political certainties that invade the perception of contemporaneity and distinguish it from every other single epoch. A void against which we clash daily and which seems to envelop, contain, suffocate and besiege every new stimulus. In this particular case, the artist focuses on an emotional and personal void that becomes radically poetic and political. Indeed, there is no act more political than the sharing of the intimacy of a person who seeks a revolution, a protest and a defense of his or her rights only through the normalization of his or her everyday life. There is no instance more political than the emergence of highlighting the vulnerability and uncertainties of a behavioral model that differs from objectification and imposed prescriptions. An attempt at democratization of difference, equality in the possibility of exercising one's own decisions and, ultimately, legitimation of one's own refusal to normality, without lingering in front of a legal and legislative abyss that repercusses, without possibility of objection, in everyday life.

The performance "The Void Around," presented during the opening day, introduces the exhibition and stimulates from the very beginning the reflection on what is hidden, on what is only romantically suggested but never manifested. A kind of embrace suspended in complete solitude in which Ruben Montini, supported only by some steel structures used for scaffolding, relates to a concealed otherness. A relationship that should be interpersonal, but which becomes forcibly one-sided and in which the need to hide the other is evident because the cultural context in which he fits does not allow him to make him appear. Fear, anger, hesitation and doubt creep in, likewise, when this need threatens to drive away any possible relationship, when it fails or ends irretrievably and the attempt to build a new love remains a failed act. On this imprint we can observe the reinterpretation of the formal restitution of some previous performances or the work in which it is the embroidery that creates total darkness around the artist, enclosing him in his own solitude. Romanticism yields in the face of nostalgia, while melancholy, in turn, becomes almost resignation in the series of Sardinian brocades in which the end of a personal story is hinted at through the efficacy of memory as something more fulfilling than the remembered itself.

The performance "The Void Around," presented during the opening day, introduces the exhibition and stimulates from the beginning the reflection on what is hidden, on what is only suggested in A Lack, in relation to that end, which is emphasized in the last work in the exhibition in which some scores are completely embroidered, leaving visible only the musical pauses, only the absences, only the emptiness that remains on.

Angel Moya Garcia