Vincenzo Ferrari - Carte d'identitą (recenti)

20th November 2007 - 15th February 2008

opening: Monday 194th November 2007, 9pm.


Vincenzo Ferrari exhibited at Galleria Blu at the beginning of his artistic career, with a one-man exhibition in 1972 and many others during the following years. Now he has come back with a one-man exhibition he himself will present. He will let us see through the words the succession of his works but especially the passion he puts in them as he makes them:

"The title of this exhibition - he writes - is Vincenzo Ferrari with 'Vincenzo' written in handwriting and 'Ferrari' in printed characters. The handwriting for Vincenzo indicates my unique identity peeping out into a very large world which is represented by my family name written in such an impersonal way. The exhibition is a route, maybe a journey, through my work of the recent years summarized in three small opening installations that -intentionally- differ from the other works, which are mainly pictorial. Such installations indicate recollection, track and the sum of the two giving birth to memory itself; maybe the journey can be seen in the opposite direction as well, that is memory dissolving itself so as to allow us to get to recollection through the tracks.
Since the works aren't placed in a chronological order, the journey develops in different directions that make it go constantly adrift. So you go from the introduction, that is a triptych concerning the beauty of paradox, to the attempt of representing the suggestion given by Grünewald's crucifixion in Isenheim, whose quotation appears thanks to tie-rods that raise the picture's hide and let the public see Jesus Christ on a deep red background. This raising hide starts a new route in our journey which, after showing a particularly dramatic work called "Cos'č" (What is this) where parts of painting and the tie-rods are very anguished presences, fulfils itself in a series of pictures whose tie-rods reveal many reflections: what is senselessness? Which is the agreement between gesture and sense, and so on.  After a three-work interlude where the dramatic pieces of hide are replaced by dangerous pieces of glass, or by a broken glass from where a canvas torn from its structure is coming out, you get to the big canvas summarizing the previous routes. Then you finally come to an end, always contradicting chronology, through a small series of four works.
This series stakes the relationship between the idea of certainty represented by the plumb line which contrasts with the background pictures and the wrongfooting the plumb line itself may produce by taking a very unnatural direction. This happens as it did in the first three installations where our journey adrift started from; maybe we have just made a journey that banally turns into a continuous circularity, always obsessively coming back to ourselves in different ways.  All these works are just pieces of memory that, through recollection, become tracks drawing a route and giving the spectator the burden of walking on it."
On the occasion of this exhibition an artist book has been published, supplemented by Elena Pontiggia's text "Carte d'identitą" (Identity cards).