Setting a new exhibition means the remaking of an existing work. It’s more than a repetition, it is a “copied” work taking the already made as a model to renew the invention, bringing the glance and the body towards the discovery of new details before invisible and unliveable. A gesture only in appearance auto-referential, it is instead an auto-accommodating gesture, that is hospitable as to what is permanent of the self, what resists of its proper imagination, what restores the image and the world with it.
Looking at things made is to look at yourself in the face to find yourself incognito, estranged to self, to who you are in that precise moment. Let’s say also that to look at yourself is an attempt to reconstruct a personal history, the attempt to give again “body” to an “author” otherwise invisible, a sort of cure of the memory otherwise untrustworthy. Perhaps, precisely for this, the expression “to look at yourself” in common usage, at least in Italian, also means self-protection, being careful, safeguarding yourself from finally losing yourself. Nevertheless, every time you look at a work already made again it is precisely the sensation of losing yourself that prevails upon the others.
On the contrary, looking at yourself becomes the stimulus for losing yourself, the remaking of a course where the only orientation is the desire to remake a living image.
I have the idea of an exhibition in which the already made works change skin, like a snake that sheds the old when it has the new in place. There is not an instant in which it remains without, on the contrary, there is one in which both cover its body; and it is that instant which I would like to fix.