The collective that presents itself as a meditative formula for the rediscovery of collective memories. From June 19 to September 10, Via XX Settembre 91, (VR).
Ardere, Ardere, Ardere, Ardere, the first project promoted by Sa.turn, starts in an abandoned store room in Via XX Settembre, Verona. In this space of transition and transformation the cultural reversal promoted by Situated art turn, a curatorial research platform, born in 2020 between Milan and Verona is accomplished, with the aim of overturning the point of view of observation from which contemporary phenomena are analyzed.
The group exhibition, curated by Arnold Braho and Maddalena Pippa, overcomes the memory of a univocal past, questioning the role of the ruins and their value within the present time. It penetrates between the cracks and the rubble of the decadent building, filling them through a casual slip from one technique to another. Also, the mixture of languages and the richness of the material combine transversally the traces left by the works, bringing them back to the same horizon of meaning: to investigate the loss of meaning of the symbolic structure of images.
All the works, scattered like remains in an archaeological site, describe a world deprived of temporal limits, reconstructing it at the same time as an agglomeration of social testimonies.
Firstly, the video documentation by Valentina Parati (1996) imposes itself with arrogance, in a game between inside and outside. The frames demonstrate the affirmation of the club culture as foreign to the dominant culture.
Disseminated in the space, the synthetic marble sculptures of Nicola Ghirardelli (1994), usurp ancient architectural details to the modern city. As structural residues awakened and picked up through the cast technique they interact with the monochromatic canvases of Ludovico Orombelli (1996). He raises to historical document everyday objects thanks to the strappo, preservation technique for wall paintings used until the ’50s.
The whispering of the choked voices of Giordano Cruciani (1995) comes directly from a crack in the wall. It echoes, and draws us to itself to remind us that the oral tradition, though neglected, reaches posterity, defying the advance of time. Time that the coastal bunkers of Cecilia Di Bonaventura (1996), have lived between the two world wars; the photographic testimonies, transformed into an analogical target simulate a barricade, a border, a line of defense, which becomes a warning for the common action.
In conclusion, the video game imaginary insinuates itself into the most intimate places of Matteo Messina (1994). Here everyday objects, virtual symbols, found footage and newspapers produce contemporary sources on the relationship with the other in the era of gamification.
Like excavations that show passers-by the scars of time, Ardere, ardere, ardere, ardere, wants to show the ability to keep the spark lit. A flame able to restart a process of reflection on the experiences that have driven history, built our identity and shaped our collective ideology.